In my painting practice, I portray the architecture of informational chaos. It is a visualization of the hidden data topographies and noise in which we are immersed—a record of the moment when the boundary between the physical and the virtual has effectively dissolved.
Methodology: Print Painting My response to the challenge of describing a virtual, flickering reality through a traditional, physical medium is the print-painting technique. It involves the controlled, repetitive application of paint using a thin edge. Each touch of the tool generates a single, precise line, and their accumulation—often tens of thousands on a single canvas—creates a complex, relief-like surface.
The name “Print Painting” reflects the fundamental dichotomy at the heart of my research:
- Print refers to automation and the repeatability of the process, mimicking the precision of printing machines. The texture of the paintings also references 3D printing aesthetics, adding a spatial dimension to the work.
- Painting emphasizes the human factor and artistic intent. Despite the mechanical repetition, the final form is the result of conscious action, where subtle irregularities and the imperfections of the gesture become key elements of expression.
This contrast serves as a practice of resistance—a slow, meditative ritual contrasted with the relentless speed of digital culture. The repetition and inevitable glitches of individual lines reflect the nature of the digital world, where precision and error constantly coexist. My paintings are therefore an intentional juxtaposition of discipline and chance; a reflection on the relationship between humanity and technology, and ultimately—physical evidence of an attempt to find a human, imperfect trace in an increasingly automated world.