For more than twelve years, I ran my own accessories brand and created silk flowers by hand. These pieces were worn by members of the royal families of Great Britain, Sweden and Greece, as well as figures from the Western cultural and media scenes. The experience of meticulous handwork taught me to encounter reality through material, touch and repetition.

Paradoxically, while a hundred years ago handwork may have helped people pass the time, today it allows us to feel time: to notice it, slow it down and hold onto it. This is where I find a sense of reality.

Travel has become an important part of my practice. During my journeys, I photograph extensively, collecting visual impressions, sensations, and fragments of landscapes and encounters. Later, this experience moves into research and then into material form: painting, drawing, an object or an installation.

I no longer see silk as the sole material of my work. Today, I am rethinking this experience within the context of contemporary artistic practice. Oil, ink and acrylic remain my classical companions, while cellulose-based sculptural mass responds organically to the content of my work. For me, digital photography is a form of magical realism. The real interest lies in choosing what to photograph and at what moment; pause and attention become decisive.

I now want to continue developing my practice as an interdisciplinary artist, bringing together different media and techniques, deepening my work with painting and objects, and expanding them into new artistic projects.

For me, there is no hierarchy between ‘art’ and ‘craft’, between artistic statement and research. If a subject occupies me, it has the right to take form.