My work explores “female” experience and memory as states suspended between trust and illusion, where I approach memory as fundamentally entangled with forms of trust that are frequently dismissed as naïve, yet persist as "intuitive" ways of knowing. I examine how memories can be distorted, suppressed, romanticized, or rewritten by reinterpreting feminist, gothic, mythological, internet-based, and pop-cultural narratives. These include gothic fairy tale retellings such as "The Company of Wolves" (Carter, 1979; Jordan, 1984), as well as contemporary online discourses like the "Man or Bear" debate and gothic tropes such as the Red Room. These references merge with personal and collective experiences surrounding nostalgia, emotional abuse, desire, deception, and fear.
Central to this is Julia Kristeva´s concept of abjection, which describes moments when boundaries between self and other, safety and threat, and memory and imagination begin to dissolve. Keeping this in mind, I explore fear alongside a simultaneous fascination with, and romanticization of, potential danger. 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.
My paintings often depict young women and wild animals within ambiguous landscapes that hover between safety and threat, curiosity and naivety, past and present, memory and imagination. Many works center on the simultaneous urge to resist and to nurture a potential threat. They reflect an internal conflict between trusting one’s own memories and instincts, or the narratives one has been told, and the impulse to flee, return, hide, dream, remember, forget, long, or regret. Ultimately, my work constructs spaces of emotional ambiguity, places where nostalgia conceals itself, fear feels familiar, and memory becomes a living, shifting, and uncanny narrative.
My process often begins with photographs, video works, or short films that I produce myself. From these, I extract and edit film stills, which serve as the foundation for my paintings. Cinema plays a significant role in shaping my visual language, as does the aesthetic of the "poor image" (Steyerl, 2009). I am particularly drawn to unconventional perspectives, wide-angle views, tilted horizons, stretched compositions, and split screens, which emphasize fragmentation and instability.
