STATEMENT

Many of my pieces grow out of layered processes in which ink, pigment, resin, acrylic glass and found materials are accumulated, sanded back, shifted and overworked. Surfaces become stratified fields in which traces of previous states remain legible, like sediments of time, perception and use.

​

Architecture and landscape are recurring points of reference, but they appear in unstable, hybrid forms: fractured grids, thresholds, fragments of infrastructure, zones that seem simultaneously constructed and eroded. In recent works, I increasingly think of these spaces as “future ruins” – speculative, often dystopian sites in which infrastructures have begun to collapse and only markers, fragments and residual topographies are left. These places interest me less as narratives of catastrophe than as open fields where perception, memory, orientation and time have to be renegotiated.

​

Working between drawing, painting, wall installations and assemblages, I often incorporate found or leftover materials from specific sites. They function as anchors to a concrete context, while the layered treatment pushes them into more ambiguous, imaginary terrains. My practice oscillates between mapping and un-mapping: establishing provisional orders, only to disturb them again, until the work arrives at a state in which different temporalities and spatial logics coexist in a precarious but coherent pictorial space.

​

M.P.