My early painting practice revolved around revisiting, reinterpreting, and reshaping old childhood memories, sketches, and self-portraits. Over time, my focus shifted toward “girlhood” nostalgia and identity, shaped by vulnerability, and gratitude.
My recent work explores female memory and intuition as states suspended between trust and illusion. For me, memory, especially female memory, is inherently linked to trust. Women´s trust, often dismissed as naive, becomes a vessel for deeper questions. I explore how memories in women’s lives can be distorted, suppressed, romanticized, or rewritten.
I reference feminist psychoanalytic theory, particularly Julia Kristeva’s concept of abjection as well as feminist, mythological, internet and pop-cultural narratives, where I draw inspiration from literature such as "Women Who Run With the Wolves" (Clarissa Pinkola, 1992), the Bluebeard fairy tale, "The Bloodchamber" (Angela Carter, 1979), and current online debates like “Man or Bear”. I weave these influences together with both personal and collective experiences and interpretations surrounding nostalgia, (emotional) abuse, deception, illusion, curiosity, and danger.
My paintings often depict young women and wild animals, such as wolves, in ambiguous landscapes, in places hovering between safety and threat, curiosity and naivety, past and present, memory and imagination. The figures exist in a state of uncertainty, neither fully within nor entirely outside their fragmented environments. Many of my paintings are about the simultaneous urge to resist and to nurture a potential threat. It expresses the internal conflict between trusting one’s own memories and instincts, or the stories one was told, and the urge to flee, return, hide, dream, remember, forget, miss, or regret.
Ultimately, my work creates a space of emotional ambiguity, a place where nostalgia can hide, fear can feel familiar, and memory becomes a living, shifting, and uncanny narrative.
