ART
SPOTLIGHT STUDIES. LINOCUTS.
We all perform now. We pose, we polish, we angle ourselves into visibility.
One craves the audience. The other craves his reflection.
One moves for applause. The other poses for self-admiration.
Two ways of seducing yourself – both dangerously effective.
But both stand in the same light.
In this series, the male body becomes a stage for self-image and performance. These figures move between vanity and vulnerability, revealing how identity takes shape under the gaze of others – and under our own.
These works were carved and printed by hand in a limited A3 edition of no more than 50. Each piece is signed, numbered, and unique.
ERYSICHTHON (I & II). LINOCUT.
Erysichthon, in Greek myth, was cursed with eternal hunger.
I liked that idea – but I gave it a new appetite.
These two linocuts are about lust without shame, hunger without end. One body lies back, open and offering; the other lifts upward, asking for more. There’s no setting, no room, no face – just form, and what it wants.
I stripped everything down: the space, the detail, the hesitation. What remains is the moment just before the bite.
A hunger that refuses explanation or justification.
Each linocut was carved and printed by hand in a limited A5 edition of no more than 50. Each piece is signed, numbered, and unique.
GREEK STATUES SERIES (1.0 & 2.0).
SCREENPRINT.
This project collides two extremes: the legacy of Greek statuary and the frictionless ease of AI-generated imagery. The figures began as sterile, flawless bodies – too smooth to be human, too empty to mean anything. I intervened. I cut them apart, rewrote their light, forced them through Photoshop, and finally dragged them into the resistance of screenprint.
The choice of screenprint is deliberate: every neon hue, every raster dot turns digital fantasy into physical matter. The grain and imperfections are proof of touch – traces AI cannot leave behind.
The first series shows entire statues, stripped of temples and myths, glowing as artificial gods. The second focuses on fragments: torsos, muscles, flesh. They look less like ancient heroes and more like bodybuilder mutations – over-perfected, hypermodern, caught between antiquity and algorithm.
It’s about turning prompts into prints. About pulling artificial images back into flesh, texture, and ink. And the question I still can’t answer: what is an image worth, when AI can create one in seconds?
These prints exist only in strictly limited editions – each one hand-pulled, signed, and numbered.
