The Essence of Reduction 

I explore the foundations of perception through a practice that moves between reduction, light, and matter. My work, which exists between photography and painting, is not a recording of reality, but a focused investigation into the conditions of seeing itself. My way of working is shaped by a combination of disciplines: the analytical precision of chemistry, the physical control of sports, and the focus of entrepreneurship. This background informs a careful and methodical approach. 

While my early work — developed at the academy — was still figurative and rooted in the Baroque tradition of light and drama, from which, I gradually moved away. This shift was not simply a choice, but a necessary step in my artistic development. Figuration gradually gave way to an exploration of spatial relationships and intervals, shifting the focus from representation to how time and space are perceived. In my current practice, reduction became a method. By removing what is unnecessary and filtering out visual noise, I try to create space for slowness and attention.

I investigate how minimal shifts in light and shadow affect perception, and how an image can bring the viewer back to the present moment. My recent work often takes the form of installations and develops in relation to the space in which it is shown. My practice is in dialogue with East Asian aesthetics. Concepts such as kanso — simplicity through reduction — and utsuroi — the quiet changing of light and time — function as frameworks for thinking. They guide me in working with emptiness, rhythm, and the removal of the non-essential. My work resists immediate interpretation. It is not an image to be read quickly, but an invitation to slow down. 

I am interested in what remains when the image is stripped of its narrative.