Living in Brussels has changed the way I think about identity and belonging. Different cultural backgrounds constantly overlap here, while ideas of home, memory and heritage become less fixed. Painting gives me a way to work through these tensions, often through the human body and through situations that sit somewhere between the personal and the collective.

The body is central to my work because a pose, a gesture or the distance between figures can carry psychological meaning without explaining everything. My background in fashion, styling and visual communication still shapes the way I build an image. Fashion photography and other photographic material sometimes become starting points for a painting. I collect images, edit and combine them digitally, and remove them from their original context until a new composition begins to appear. I do not normally make preparatory drawings or small painted studies. I work from the constructed image directly onto canvas, where colour, scale and the physical process of painting change it again.

The visual language of the paintings moves between contemporary figuration, naïve painting and symbolic or occasionally surreal imagery. Hungarian folklore and folk tales are also part of this language. More recently, several bodies have begun to occupy the same composition. This has shifted my attention towards the space between figures: physical closeness, desire, care, tension, belonging and the possibility that people can be close to one another while still remaining psychologically separate.