I am, before anything else, an esthete and a philosopher — someone who cannot separate the search for beauty from the search for meaning. There is an anticonformist current in me, a certain pleasure in trespassing across lines convention has already drawn, and beneath that, a dreamer who never agreed to put away a child's astonished eyes.
Every piece begins as a complete structure, seen before it is built — saints beside demons, queens beside martyrs, forgotten fairy tales woven into an entirely personal mythology. I do not work toward a fixed, final image. I work toward something half-imagined, and I stay willing to be surprised by what actually arrives.
What repeats, beneath every piece, is a refusal of categories: the sacred beside the theatrical, history dissolving into invented myth, an object that will not decide whether it is jewelry or sculpture. If something can be labelled at a glance, I have not gone far enough.
The Certificate of Authenticity
Every piece leaves the studio with a numbered certificate of authenticity — a record of its materials, its place within the body of work, and the process behind it. It travels with the piece as provenance for its next owner, and as a record for whoever encounters the work after that.