My artistic practice is grounded in a process-based investigation of the body in motion and its translation into visual, spatial, and medial forms. The body operates simultaneously as a site of experience and as an image-bearing object: as a subject that perceives, acts, and remembers, and as a form that can be shaped, fragmented, and represented. From this tension emerges a body of work that understands movement not primarily as expression, but as a method of knowledge production.

Central to my work is the question of how embodied knowledge is generated, how it inscribes itself into images, lines, volumes, or temporal structures, and how these translations affect our perception of identity, presence, and space. Dance—particularly breaking—does not function as a closed discipline within this practice, but as a point of departure for a cross-medial approach in which movement is transferred into drawing, sculpture, film, installation, and performance. These media are not treated as separate fields, but as different states of the same embodied experience.

A recurring concern in my work is the increasing shift from immediate, sensory experience toward mediated images of the body. In a contemporary condition shaped by technological apparatuses, architectural frameworks, and digital representations, the body is increasingly defined through its image. I am interested in how these conditions structure perception, what forms of conditioning they produce, and where moments of friction, rupture, or resistance may arise. My works explore these tensions by placing the body in situations where it leans into, works against, or is shaped by spatial and material structures.

Although visual media play a central role, my attention is deliberately directed toward non-visual dimensions of perception: weight, pressure, friction, balance, breath, temporal dilation, and internal states. Movement becomes a tool to access and articulate these qualities, giving them form without fully fixing them. The resulting works are not conceived as definitive statements, but as situational articulations within an ongoing dialogue between body, space, and imagination.

In this sense, I understand my practice as a search for forms that do not replace bodily experience, but condense and transform it. Rather than explaining perception, the work aims to shift it—toward an attentiveness to what unfolds in the thresholds between movement and image, presence and representation, body and environment.