I work with ceramics as a narrative and formal system, in which image, object, and structure exist simultaneously. My vessels are not neutral carriers: form, surface, and painting are equal within them and mutually define one another.

Unlike painting, where the image is given all at once, a vessel never fully reveals itself. The viewer encounters fragments that require movement and rotation. I work deliberately with partial vision, with the impossibility of a single, simultaneous reading.

My practice is shaped by my experience in painting restoration, where I worked with artworks altered by time, loss, and intervention. This led me to understand the image as a layer rather than a finished surface.

I move freely between form and image, using hand-building and painting as a single language. Asymmetry, relief, and structure are established before the narrative emerges and shape its unfolding. The image does not illustrate the form but enters into dialogue with it — at times supporting, at times disrupting its logic.

My work carries a field of references to the history of art, from ancient vessels to decorative and domestic forms, but these quotations are neither fixed nor hierarchical. They are used as material that can be shifted, treated with irony, or woven into a new system of images.

I approach the vessel as a form that holds emptiness and meaning at once — a structure capable of working with what cannot be fully spoken. In my work, this emerges through the multiplicity of elements, the fragmentation of the image, and a tension between the decorative and the substantive, the private and the shared, direct statement and what is held back.