Where Does Nature Become Abstraction?
This body of work exists at the intersection of two distinct ways of experiencing the world. On one hand lies the contemporary world, understood through structures, geometric systems, and abstract modes of organization. On the other is a pneumatic world that still retains the traces of mountains, plains, and the fundamental forces of nature.
In these paintings, nature is not the subject of representation. Rather, it is a terrain that remains distant from the human impulse to impose order. What emerges is neither landscape nor pure abstraction, but a liminal realm where natural forces remain active while simultaneously becoming subject to intervention.
Each painting begins with freely applied layers of paint and material, allowing the surface to develop organically. At a later stage, a structured mind shaped by architectural thinking enters this territory. Geometric forms and measured lines intervene, seeking to occupy and redefine a world that previously existed independently of imposed order. Through the language of geometry and measurement, an attempt is made to establish a human logic within this space.
Yet this intervention is never complete. The underlying nature is never fully erased, nor can the geometric structure entirely possess the living, fluid qualities of the natural world. The tension between these two forces remains unresolved and continues to unfold across the surface of the painting.
Ultimately, these works are a reflection on the distance and relationship between these two layers — on the point where nature approaches abstraction, and where abstraction continues to carry the trace of its natural origin.