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Threads of Reality explores the ways our inner worlds touch, clash and intertwine, and how imagination and perception shape the way we experience life. The works grow from an interest in the realities we carry within ourselves and those that belong to others: the contradictions between what is visible and what is lived, between one perspective and another, and between what makes sense and what does not.

Strangeness, contradiction and dissonance are not treated as flaws to be corrected, but as essential parts of being human. The series moves between the wild and the controlled, the seen and unseen, madness and sense, allowing several truths to occupy the same space without demanding that one defeats the other. At its centre is a question of connection and belonging: how can we encounter realities different from our own without demanding agreement or erasure?

Variations on a Familiar World is an ongoing line of inquiry into how familiar images can be dismantled and reconstructed to tell different stories. Its starting point is A Regular Day in Guernica, made in 2015 using the recognisable spatial structure of Picasso’s Guernica while imagining the same place if the bombing of 1937 had never happened.

Fear, destruction and death are replaced by ordinary life: a parent putting a child to sleep, people falling in love, neighbours and animals sharing the street. More than a decade later, the work has become the methodological starting point for a new body of work investigating how compositions embedded in collective visual memory can be re-examined from the present.

These works began through an exploration of organic forms and the visual language of nature: shapes that grow, repeat, overlap and resist complete control.

Working with a Gelli plate, I build images through layering, transfer, repetition and chance. Rather than fixing the composition in advance, I allow each layer to respond to what came before, using experimentation and accident as part of the image-making process. Each work is unique, as the process cannot be repeated with exactly the same outcome.

The works are printed with acrylic paint on 200 g paper, 29.7 × 21 cm.

I believe art belongs everywhere and to everyone, not only in galleries and cultural institutions. These works bring painting directly into shared urban environments, using existing infrastructure as a place for colour, text and unexpected visual encounters within daily routines.

In public space, art can be encountered without permission, prior knowledge or the feeling that you need to know how to behave around it. By moving work outside conventional art spaces, I aim to challenge the gatekeeping that can make art feel distant, exclusive or inaccessible. Ordinary functional structures become places for curiosity, recognition and reflection, creating small moments of connection in the streets and spaces we already share.

My practice extends beyond painting into the design of exhibitions, temporary environments and cultural spaces, informed by my background in architecture. I approach these projects through the relationships between people, artworks and their surroundings: how a visitor moves, where attention gathers, how objects and images coexist, and how a space can feel welcoming rather than simply functional.

Across exhibitions and professional events, I combine spatial design, curation and practical implementation. Projects such as The Living Room intentionally blur the boundary between domestic space and gallery, while Talent Boost Summit uses art, reused materials and informal spatial elements to support dialogue and connection. This work reflects the same concerns as my visual practice: belonging, accessibility, atmosphere and the ways spaces can shape how people encounter one another.