APPROACH 

My work often combines clean vector graphics with organic elements — though not always. Sometimes simplicity itself carries the expression. I’m inspired by the purity and geometry
of abstract and constructivist art (Mondrian, Tatlin, El Lissitzky, Malevich), as well as by the clarity of Scandinavian design (Aalto, Aarnio).

Equally influential are the bold textile patterns of Maija Isola (Marimekko), the graphic directness of Pop and Op Art, and the expressive reduction found in the works of Kirchner and the “Brücke artists”. 

Elements found in everyday life also inform my visual language — transformed through isolation, enlargement, repetition, or framing.

Design systems such as Otl Aicher’s pictograms or urban signage inspire me through their precision and reduction. The poster art tradition and the structural compositions
of Frank Stella and Christopher Wool further shape my work. 

Beuys’ use of material and his sketch-like drawings have deeply influenced my approach.
In my own illustrations, I explore this “unfinished” quality by intentionally leaving digital elements incomplete — using visible pixels, outlines, and rough vectors to preserve a sense
of process and imperfection. I often leave my drawings and physical works intentionally unfinished or sketch-like.

In combination with manual and digital techniques, this approach creates a dynamic
tension, making the pieces more engaging and thought-provoking. 

SCRIBBLING 

spontaneous, aimless drawing or making is essential to my creative process. 

These spontaneous sketches, or “image pieces,” often serve as the foundation for my later works. This intuitive “scribbling” often sparks new associations and ideas. It allows images
to emerge naturally, connecting thought and material in unexpected ways. 

COLLECTING 

Just like scribbling, collecting is essential to the development and creation of my work.

I’m always collecting — even when I’m not actively working on an illustration or image —because something “found,” or rather “discovered,” will almost certainly find its use eventually. Most of my ideas and materials come directly from everyday life and my surroundings. 

COLLAGE 

By combining these freehand elements with digital graphics, my work gains an organic, imperfect quality. The computer-based shapes become less rigid, more alive —
with textured surfaces, subtle irregularities, and layered colors.

When working solely non-digital, I appreciate the spontaneous expression and the element
of chance that, in my view, define collage itself.