My painting practice centers on lacquer that I prepare myself and apply in successive layers on rigid supports.

Through this slow process, the surface becomes a space of emergence: the material stretches, retracts, polishes itself, becomes troubled. Light moves through the depth of the layers, sliding across glossy areas and sinking into matte ones.

Each panel is shaped by duration — a dialogue between opacity and transparency, between control and accident.

These works open a quiet, atmospheric field where color becomes vibration, where brightness suspends itself, where horizons appear and dissolve. The lacquer creates a space where matter breathes differently, and where the surface becomes a passage.