I do not paint decoration.
I construct symbolic systems.

My work is rooted in emotional cartography — mapping what cannot be measured: memory, identity, belonging, the inner architecture of experience.

I begin with simple forms — flowers, animals, birds, plants.
They appear naive. They are not.

Within these forms live cultural codes, fragments of regional memory, archetypal structures that outlive generations.
Not as folklore revival. Not as ornament.
But as active carriers of collective experience.

Each painting is a map.
Not of territory — but of meaning.
Not of landscape — but of identity.

In an era of endless reproduction, I choose singularity.
One painting. One original. No repetition.

I work slowly.
Research precedes image.
Study precedes form.
Understanding precedes symbol.

Flora and fauna are not subjects — they are structures.
Symbols are not decoration — they are language.

Painting is the final condensation of investigation — where culture, memory and behaviour converge into form.

Naivety as honesty.
Symbolism as depth.
Aesthetics as resistance.
Structure as a way to hold the chaos of the world.

I return ancient power to simple forms — and I refuse to let symbols become empty.