Rooms within
In my paintings, interiors unfold as intimate, introspective spaces; quiet rooms that hold the weight of emotion and memory. They are not merely physical settings, but psychological chambers. Each room becomes a mirror of the self, shaped by what is seen and what is hidden, by the traces of lives lived and moments suspended in time. Through gestures of light, color, and composition, I seek to transform domestic spaces into inner landscapes—places of contemplation, vulnerability, and quiet revelation—inviting the viewer to look inward, as if stepping into a memory both personal and universal.
The Last Drink, 2022
Oil on canvas, 60x80cm
A peaceful scene of a woman falling asleep at a party. One of the main pigments used in this painting is malachite, a green copper carbonate that has been used in various forms of art since antiquity. Malachite was especially popular in Ancient Egypt, Greece, and Rome. As a crystal, it is still commonly believed to possess metaphysical properties—such as aiding emotional healing and helping to release negative emotions.
The main emotion in this piece is tranquility. In contrast to her relaxed posture, we see her vibrant red-orange dress, and in the background, people dancing, smoking, flirting—a ringing phone, a burning cigarette, a full glass—all softened by the calming presence of malachite green.
Aevum absurdum, 2022
Oil on canvas, 100x75cm
Aevum Absurdum — Latin for The Age of Absurd — is a trompe-l’œil painting that blends Viking decorative art with Italian Renaissance ornamentation. At its centre is an ornate mirror, rich with symbolic details: red eyes, a blood-filled hourglass, saddled ravens… Each element invites interpretation.
The mirror serves as a portal between past and present, as if history were quietly observing our modern world. Reflected in its surface is a familiar scene: remote work during the pandemic.
Surrounding this are layered themes—our dependence on technology, the loss of individuality in capitalist systems, environmental collapse, resource exploitation, and the quiet loneliness of urban life. Aevum Absurdum is a reflection of our time: strange, fragmented, and eerily familiar.
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The dinner party, 2024
Oil on canvas and carved wood
Three faceless figures sit around a table, caught in a moment that feels both timeless and uncanny/ Framed by deep red velvet curtains, like a stage waiting for a play that never begins, they pull you in with their silent stares.
The carved wooden frame, inspired by Viking masks, tells another story: weeping faces whose tears melt into each other's eyes. A sorrow that feels ancient, yet strangely familiar.
This piece blurs the lines between what's seen and what's imagined. You're not just looking, you're there, an invisible guest at the strange, intimate gathering.
That which lives on, 2021
Oil on canvas, 50x40cm
The happy widow, 2021
Oil on canvas, 50x40cm