I have witnessed artists photographing their works and digitally zooming in placing a layer of pixels between themselves and their creations until the analogue world vanishes. In our time of techno-optical transgression into the virtual, where bodies and identities are distributed, diverted, and split across screens and networks, I experience painting as an act of re-embodiment. The painting as interface becomes what Donna Haraway calls a “si(gh)ting device”, a threshold through which vision itself materializes. My artistic work explores this crossing: how perception circulates between the digital and the analogue, the seen and the felt. Through this, I attempt a process of de-reification: to unfix what has solidified, to see with heart eyes, to restore strangeness to what has become obvious but remains unknown, unanswered.

I often wrestle with visibility: that my paintings, in their material beauty, may seem to resolve what I wish to keep open. I fear that their philosophical depth might remain invisible, that they could be mistaken for aesthetic ends rather than epistemological beginnings. Yet I have come to understand this as part of the work itself: the paradox of thought incarnating as image, of philosophy disguised as pigment. I do not wish to abandon painting to the theoreticians; I want painting itself to think, to anchor abstract ideas in lived, sensory experience. My paintings are not about philosophy; they are philosophy, embodied and struggling for visibility.

2025