My practice sits in a space where painting resists order, leaning instead into the spirit of informalism, a movement defined by its refusal to submit to rigid form or established hierarchies of art. Informalism, emerging in post-war Europe, rejected clean structure and prized spontaneity, raw gesture and materiality. For me, this is not just a historical reference point, but a living approach: paint is allowed to behave as it will, marks accumulate without needing to resolve, and surfaces carry the memory of their making.
At the same time, my work intersects with the aesthetics of graffiti, particularly the evolution of letter forms. Graffiti writing has long treated the alphabet as raw material: stretching, warping and abstracting letters until they sit at the edge of legibility. Graffiti shares affinities with informalism - both embrace accident, gesture, and process over polished completion. The city wall becomes, like the painter’s canvas, a site of energy, improvisation and refusal.
In my work, letters don’t announce themselves - they surface as fragments, bubbles, or gestural tags. Surfaces oscillate between communication and abstraction. By fusing informalist painting with the visual language of graffiti I expand the field of what painting can absorb. For me, it’s less about producing finished statements than about staying with the unresolved - gestures that refuse to settle, letters that refuse to be fully read, and surfaces that record the restless energy of making.
