The artist’s work investigates the processes of space, time, and movement that arise in front of, behind, and around the physical plane of the image, as well as those that emerge within the viewer’s consciousness. She explores the ever-changing system that forms between these two poles: impressions expanding through space, sequences of moments and viewpoints that the viewer reassembles into a personal experience of time and movement through their physical or mental shifts. In her work, totality and isolated moments — points of view, fragments — coexist simultaneously, expressing both compression and expansion.

According to the artist, the human viewpoint can only ever be a single point in space and time, and its relative change constitutes movement. From the perspective of the part or the moment, it is the observer who generates space and time. Her works — which arise from the viewer’s movement and shifting perspective, thus granting them a creative role — embody this essence and pose questions about space and time. Movement becomes the means through which we perceive temporal flow and spatial articulation. Repetitions within space evolve into transitions and dynamics through the spectator’s motion.

She has always been fascinated by thresholds, ambiguities, and moments of decision, regardless of context. In her artistic practice, this tension appears both in the exploration of spatial contradictions on the two-dimensional plane and in the examination of boundaries between mediums or dimensions. In these ambiguous or multi-layered situations, and in the irreconcilability of opposites, she perceives a kind of mystery: it is along these narrow thresholds that dimensional shifts occur, revealing the nature of space and time. In this tension, movement is born and the world comes alive. Her works across various visual art forms — painting, film, sculpture, photography — build upon one another, integrating insights from each medium. Exploring a single visual problem across different systems often sheds light on the nature of the systems themselves and the relationships between them.

She continually returns to the most fundamental question about the image: what, in essence, is a sheet of paper or a piece of canvas? She remains fascinated by their thin yet tangible physicality, their dual surfaces, and the mysterious presence of marks or forms on them. As a teacher, she observes how students take this object for granted, while she considers it an inexhaustible form of play — perhaps the most surprising object precisely because it feels so obvious.

The contradiction between flatness and spatiality is embedded in the very physical presence of the picture plane: in one dimension it tends toward zero, toward nothingness; in another, toward everything, toward infinity. No picture plane in this world can reach these extremes. Every act of image-making is an attempt to reconcile this contradiction — a search for UNITY. For the artist, movement is what strives to resolve this tension, this paradox, bringing the visible world into being.