about me
I explore the ethereal, the beautiful, and the spiritual dimensions of human creativity through study and creative practice, including writing, visual work, and ongoing research. This space is where I gather ideas on art, culture, and the ways meaning is constructed across time and place.
Alongside my creative work, I work in international education and have a background in multilingual communication, transcreation, and cultural adaptation. Working across languages and cultures has shaped how I think about interpretation, identity, and the transmission of ideas.
Many of the questions I explore are inspired by time spent in museums, especially the Metropolitan Museum of Art. I am particularly drawn to Hellenistic art, Asian art, and European painting, where technical mastery and enduring human questions often meet.
In both my professional and creative work, I am drawn to authenticity; whether in visual representation, language, or narrative.
I also publish essays and reflections on culture, art, language, and identity on my Substack: "Dreams in all Languages".
Here, I focus on art that demonstrates technical excellence and communicates enduring principles, beauty, and meaning.
Want to discuss art, research, language or collaborations?
Hi there. Story time.
Visual Art, which is the area of my focus, has a leading role in society. It gives the pulse on what the current society is like, it's a mirror, it reflects the moral compass of the world. What is beautiful, upright and inspiring transpires through art. Art influences people in subtle and not so subtle ways. That is why I will focus on forms that value technical mastery first. My understanding of beauty might lean on ancient influences and hopefully you will appreciate this perspective. I take this opportunity to thank Serge Boÿer, my former sculpture and volume teacher from the School of Fine Arts I attended in Avignon, France. He was the first one to spark my interest in art and its deeper meaning by introducing his students to the Golden Ratio and its application in art and architecture.
In short, while my focus remains on traditional art, I draw on the research of scholars such as Aude de Kerros and Nathalie Heinich, which you can read here in translated essays. Their work provides insight into the societal shifts that shaped modern and early 20th-century art, helping to understand why certain movements reached an impasse and how the status of art has evolved today.
These reflections inform my approach to traditional works, where I seek deeper meaning and timeless aesthetics, exploring history with care and attention.
A new way of exploring the history of art means focusing on traditional works with depth, classic aesthetics, and enduring meaning. Having trained in contemporary art, including Land Art projects, I now choose to go against the grain by self-teaching through sketching classical Greek works, studying and copying the old masters, and immersing myself in techniques no longer emphasized in current art school curricula.
