Research in painting emotions

Over the past few years, I have created a series of paintings that explore the emotional experience of my body. Working with and using primarily acrylic on canvas as base. I approach each painting intuitively—letting color, form, and movement guide the process. My visual language moves between abstraction and figuration: bodies, faces, and gestures appear, but are often distorted, merged, or unravelled. This fragmentation is not meant to hide, but to expose something internal—something less visible but something that I deeply feel.

Throughout these works, I use an expressive, often contrasting color palette. Warm tones: reds, pinks, ochres—interact with cooler blue tones to evoke intimacy, tension, and vulnerability in my first painting. My brushwork is physical and layered, building up the image as a reflection of emotional depth and complexity of an emotion I feel.

This body of work is part of an ongoing investigation: how can an image convey emotion in its rawest form? I experiment with composition, fragmentation, and the intensity of color to understand what gives a painting its emotional charge. The paintings reflect a personal journey—through themes of connection, bodily memory, estrangement, and the shifting  of boundaries of my identity.

Each piece stands on its own, but together they form a visual archive of how I have grown, questioned, and redefined the way emotion lives in paint. My inspiration for color use comes primarily from How Francis Bacon uses colors in his paintings.