Art

My artistic practice is rooted in transformation and the dissolution of boundaries between life forms, echoing Surrealism’s fascination with metamorphosis and the unconscious. Water, its fluidity, force, and mutability, guides both my conceptual framework and material process. Like the gestural abstraction of Action Painting, I invite the organic behavior of materials to shape the work, allowing spontaneity and flow to co-create form. My sculptures resist fixed states, instead evolving with a biomorphic fluidity that blurs the lines between plant, animal, and human, between liquid and solid.

This instinct for hybridization has deep ancestral echoes. My grandmother was born in Transylvania, and from a young age I was steeped in the region’s myths, especially the lore surrounding Dracula. The vampire—neither fully alive nor dead, both feared and desired—embodies the liminal spaces that captivate my work. The mythologies passed down to me weren’t just stories, but psychological landscapes where identity, desire, and the unknown coexisted. Embracing and exploring the “shadow” of my unconscious is an important aspect of my art practice.

As a child, I was also enchanted by Hans Christian Andersen’s The Little Mermaid, a tale of transformation, sacrifice, and selfhood that mirrored the hybrid, feminine figures I identified with from Eastern European folklore. The mermaid’s dissolution into sea-foam resonated as a symbol of choosing one’s path at great personal cost, and affirmed my belief in the power of resisting containment. The path of my life as an artist reflects this core belief of following ones inner guide or intuition even if it involves sacrificing aspects of material comforts. I find kinship with the Symbolists’ inner mythologies and the psychological abstraction of mid-century modernism. My practice bridges figurative and abstract modes, weaving together science, spirituality, and aesthetics in a manner reminiscent of Hilma af Klint’s visionary abstraction. Esoteric philosophies, especially Kundalini yoga, inform my exploration of altered states of consciousness and energetic transformation. I have been practicing Kundalini yoga since 2019 and the symbolism of the serpent as the coiled life energy which when elevated allows one to experience an altered and elevated perspective has started to manifest in my work. Like meditation, art is a practice which opens the door to a transcendent state of awareness and allows me to peer into another realm. The sculptures I create are artifacts of that exploration. Across media, hybridity remains my central aesthetic and philosophical inquiry: a space where boundaries dissolve, identities intermingle, and material states shift—unsettling the lines between self and other, myth and biology, flesh, and spirit.

Drawings

Drawings:

My drawings serve as bridges between the microcosmic and macrocosmic realms, weaving delicate narratives that unfold across expansive surfaces.

Rendered in pencil, pen, and ink on mylar and paper, each piece arises from a dialogue between meticulous observation and intuitive mark‑making, inviting viewers into worlds where natural forms, mythic symbolism, and human emotion converge.

In works like Queen, Erinea, and Atropos, oval compositions suggest sanctified spaces or altarpieces. Intricate botanical motifs intertwine with silhouettes and patterns that evoke wings, exoskeletons, and celestial bodies, blurring distinctions between flora, fauna, and the feminine divine. These hybrids reflect my fascination with transformation, metamorphosis, and the archetypal imagery embedded in nature.

The precision of line work coexists with areas of improvisation, producing an aesthetic balance between control and chance. Drawing becomes both meditation and excavation, uncovering hidden rhythms, shadowed textures, and the resonances that bind form, myth, and psyche.

Paintings: