In the concrete world around me, there is an abstract world that I sense, woven by society, nation, class and history. In this dimension, where things seem much more complex and cruel.
In this abstract dimension, human beings are imbued with absurdity and nervousness. Some of them are distorted, scary, violent and dark, while others are stupid, greedy and arrogant. These individuals, who have lost their humanity and been alienated as The demons*, where are they leading this world? This creates worry and apprehension in me.

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My feelings gather in my mind, and little by little, I see the silhouette of a thin and fragile person while wondering if she really has a head for there to be so much suffering in the world.
I wanted to construct this “common image of humanity” that I perceive, and integrate it into the artistic form of a triptych to establish a continuity that would make it truly “be” and alive.

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In the visual world, there are figures that have meaning for me, that touch me deeply and that I cannot forget.
Like the figure of Bruegel's beggar in the Louvre, with its deep eye sockets and open mouth, the skull and the lighted lamp at La Tour, Goya's donkeys, ancient Greek sculptures, Lüpertz's wheat and helmet, the duck without feathers under the line of Garouste, and of course, numerous examples in photography and cinema. These solid and timeless figures allow me to instantly understand the intention of these artists.
Likewise, the bowl figure I designed in 2022 is solid in my eyes and worth remembering. This is why it appears several times in my works.

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*DOSTOYEVSKI Fyodor, The demons, published in Saint Petersburg in 1871