Nucleus

A visual expression, algorithms can’t create.

The Fusion of Three Paths

My art is the convergence of three intertwined paths – each shaping the language, texture, and depth of what I create today.

The first strand reaches back nearly thirty years, into the raw energy of graffiti and Urban Art. I have painted on concrete, steel, plaster, wood, plastic, and canvas – always fascinated by how each surface responds to color, pressure, and time. The textures, reflections, and tactile qualities of these materials have become part of my visual DNA. For years, I tried to capture the essence of graffiti – its pulse, its aura – on canvas. I experimented with airbrush, spray cans, markers, and brushes, even installing canvases on outdoor walls to preserve that fleeting energy. Yet, I realized it wasn’t just about transferring graffiti onto canvas; it was about translating its emotion, rhythm, and process. What remained were contrasts – texture against smoothness, light against depth – the visual tension that now defines my work.

The second strand runs through my travels and encounters. Far from tourist routes, I found meaning in contrasts: social, architectural, human. I’ve been to Paris, visited Clichy-sous-Bois and walked through subway tunnels, but didn´t see the Eifel tower nor the Louvre. I painted walls in Nicaragua, Indonesia, USA and many other countries – sometimes under watchful eyes, sometimes in silence. Working in public space means embracing unpredictability: weather, surfaces, improvisation. Every mural becomes a dialogue between control and chance, precision and intuition. Those moments taught me that authenticity often lives in imperfection.

The third strand is rooted in my background in cartography and geomedia. I’ve always been drawn to aerial views – to the patterns, lines, and topographies that emerge when we zoom out. From above, order and chaos coexist: straight lines carved through wild terrain, cities pulsating with geometry. This way of seeing – both analytical and poetic – influences my compositions today. My works resemble topographies of emotion and memory, where every layer, contrast, and reflection forms part of a larger whole.

When these three strands merge, they form the foundation of my art. My works explore the coexistence of opposites – chaos and harmony, structure and spontaneity, proximity and distance. They invite viewers to step closer, to lose themselves in textures and details, and then to step back to grasp the greater composition. It’s an experience that demands presence – something no photograph, video, or algorithm can reproduce.

Each painting carries the name of a world capital – a metaphor for perspective, for zooming out, for connecting fragments into a global whole. They are invitations to imagine, to travel, to feel the unseen.