Looking at my paintings from around 2016, I can clearly see how my visual language has evolved.

At that time, geometry was much more present. It was the language I used to organize the composition. Even then, I wasn’t interested in the systematic geometric language of artists like Peter Halley. My forms were already adjusted by eye, searching for visual balance rather than geometric precision.

Over the years, my way of painting gradually changed.

Today I am less interested in clearly defined geometric shapes. I prefer softer edges, less predictable forms, and a more organic arrangement of masses. I still build every composition by balancing forms, colour, and visual weight, but I no longer need geometry to be so visible.

The change is not in the way I think. It is in the way I express that thinking.

The architectural discipline is still there. The visual language has simply become less geometric, more intuitive, and more closely connected to the way I now see and experience the world.