BIO & CV

My artistic practice does not originate in a rupture of identity, but in a shift of regime of potency. After more than three decades in executive leadership roles within international corporate environments, I did not abandon one form of rigor for another more intuitive one; rather, I displaced rigor itself—from strategic control and representational decision-making to a material, intensive, and experiential mode of thought.

This transition aligns with what Gilles Deleuze describes as a movement beyond the dogmatic image of thought: a departure from recognition, hierarchy, and predefined outcomes toward encounter, intensity, and production. Painting became the site where thought is no longer assumed to be given, but is forced into existence through material resistance, texture, rhythm, and duration.

My work operates beyond the white cube not as a rejection of institutional spaces, but as a refusal to depend on them as conditions of meaning. The paintings function through presence rather than display, through time rather than instant legibility. Surface, matter, and gesture are not illustrative but operative: they act upon the body of the viewer, creating fields of sensation rather than objects of recognition.

The executive past remains active within the work—not as narrative content, but as structural discipline, endurance, and decision under pressure. What changed was not who I am, but how thought operates: from a regime of control and representation to one of immanence, risk, and intensity. Painting, in this sense, is not expression, but production.

Education & Formation:
 Independent artistic formation grounded in contemporary philosophy, abstraction, and material experimentation. Ongoing research informed by Deleuzian philosophy, post-war abstraction, and process-based practices.

Professional Background:
 Former C-level executive with over 30 years of experience in international corporate leadership. Extensive background in strategy, transformation, and high-responsibility decision-making within complex systems.

Artistic Practice:
 Abstract painting with a strong material and textural component. Works developed through layered processes involving acrylics, sand, gesso, modeling paste, and textile-inspired surfaces. The practice emphasizes intensity, duration, and embodied perception rather than representation.

Exhibitions & Selections
 – Selected exhibitions and contemporary art fairs in Europe
 – Participation in curated group shows and international selections
 – Works presented in gallery, fair, and architectural contexts

Collections & Platforms:
 Works available through international contemporary art platforms and private collections in Europe.

Statement of Positioning:
 My practice is situated at the intersection of art, philosophy, and lived experience. It rejects recognition as a mode of validation and instead affirms painting as a site where thought is generated through encounter and material force.