The Voids.
These drawings emerge from a continuous gesture.
A repetitive, sustained movement — almost rhythmic — like the trace of a pulse.
Each line is both controlled and instinctive.
It accumulates, layer after layer, until the surface reaches a point of density where it begins to vibrate.
Nothing moves.
Yet everything is in motion.
The drawings hold that tension.
They create a visual instability — a sensation where the eye cannot fully settle, where perception begins to shift.
What appears static becomes active.
What seems silent begins to resonate.
The lines do not describe.
They register.
They record something closer to an internal movement — fragments of thought, of memory, of impulses that precede language.
Through repetition, the drawing builds a form of pressure.
A concentration.
A gravitational field that draws the viewer inward.
The surface becomes charged.
It holds a tension between control and release, precision and overflow.
These works operate at the threshold of perception.
They bring forward what usually remains imperceptible — subtle oscillations, inner rhythms, the quiet activity of the psyche.
The drawing becomes a place where these movements can take form.
A space where the invisible insists.
To stand before them is to experience a shift.
The eye searches, adjusts, loses its point of stability.
Something unsettles, then reorganizes.
They activate.
They open a space where stillness becomes movement.
Where what cannot be seen begins, slowly, to appear.
These drawings emerge from a continuous gesture.
A repetitive, sustained movement — almost rhythmic — like the trace of a pulse.
Each line is both controlled and instinctive.
It accumulates, layer after layer, until the surface reaches a point of density where it begins to vibrate.
Nothing moves.
Yet everything is in motion.
The drawings hold that tension.
They create a visual instability — a sensation where the eye cannot fully settle, where perception begins to shift.
What appears static becomes active.
What seems silent begins to resonate.
The lines do not describe.
They register.
They record something closer to an internal movement — fragments of thought, of memory, of impulses that precede language.
Through repetition, the drawing builds a form of pressure.
A concentration.
A gravitational field that draws the viewer inward.
The surface becomes charged.
It holds a tension between control and release, precision and overflow.
These works operate at the threshold of perception.
They bring forward what usually remains imperceptible — subtle oscillations, inner rhythms, the quiet activity of the psyche.
The drawing becomes a place where these movements can take form.
A space where the invisible insists.
To stand before them is to experience a shift.
The eye searches, adjusts, loses its point of stability.
Something unsettles, then reorganizes.
They activate.
They open a space where stillness becomes movement.
Where what cannot be seen begins, slowly, to appear.
︎
SILENCE
160 x 120 x 1 cmBic black biropen on Arches Velin. Unframed.
Unique Piece - 2020
︎
VOID #05
127 x 86 x 4 cmBic black biropen on Arches Velin. Oak tree frame, natural color. Museum glass.
Unique Piece - 2020
Sold during the Sotheby’s auction sale ‘Contemporary Curated’ - July 2021, Paris.
︎
SAYS
103 x 73 x 4 cmBic black biropen on Arches Velin. Oak tree frame, natural color. Museum glass.
Unique Piece - 2019
︎
THE INVISIBLES
113 x 83 x 4 cmBic black biropen on Arches Veli. Oak tree frame, natural color. Museum glass.
Unique Piece - 2019
VOID #09-25-2
75 x 106 x 4 cm
Bic black biropen on Arches paper. Oak tree frame, natural color. Museum glass.
Unique Piece - 2025
︎
VOID #10-25-2
75 x 106 x 4 cm
Bic black biropen on Arches paper.
Unique Piece - 2025
︎
VOID #08-25-2
66 x 102 x 4 cm
Bic black biropen on Arches paper. Oak tree frame, natural color. Museum glass.
Unique Piece - 2025
VOID #12-25-2
80 x 110 x 4 cm
Bic black biropen on Arches paper.
Unique Piece - 2026