My practice is rooted in a reflection on architecture and the architectural object, considered not as finished forms, but as structures in the making. What particularly interests me is the study phase: the moment when projects are constructed in thought, in the sketch, in the model.

I develop a work based on geometric and free abstraction, through volumes that evoke fragments of built spaces, forms that could belong to an architecture in the making. The model occupies a central place in my approach: it becomes an autonomous object, no longer a tool of representation, but a plastic space of experimentation, where the relationship to construction, to balance, to matter takes on its full meaning.

My relationship with architecture was formed very early on, notably through memories of my holidays spent with my grandparents on the shores of the Black Sea. The Soviet-era bus shelters I saw on the side of the roads left a lasting impression on my eyes: strange, hybrid forms, sometimes monumental, often isolated, somewhere between functionality and poetry. They awakened in me a fascination for simple but distinctive structures that tell the story of a place, a context, a time.

My work is thus situated in a back-and-forth between formal research, personal memory and plastic construction, with the desire to create abstract forms that evoke forgotten, unfinished or imaginary architectures.

The ceramic surface, with its infinite potential for texture, relief, and material, becomes the preferred terrain of my research. It allows me to explore abstraction in a dimension that is both tactile and sculptural, giving body to fragments of imagined or recomposed cities.