Chinese Ink

Chinese ink holds a central place in my practice. It is the medium with which everything begins, the raw material of my painting gesture.

What fascinates me about this ink is its dual nature: its transparency, which hints at forms, and its fluidity, which eludes me as much as it guides me.

Every drip, every dilution, every area where black turns to grey becomes a trace of the moment of creation — a gesture I can neither correct nor repeat exactly.

Beyond its visual qualities, Chinese ink carries a powerful symbolic meaning. It connects me to Asia and its spirituality — to a painting tradition in which empty space matters as much as what fills it, and the right gesture takes precedence over accumulation. Painting with ink means allowing the surface to breathe and working with guided chance rather than controlling everything. In my work, this ink often forms the first layer, the foundation on which acrylic and collage then enter into dialogue.