My practice begins with listening and observation — of lines, emotions, and the tensions between what appears and what gradually reveals itself. It starts from a mark traced before intention, in the flow of everyday life: closer to a perceptual note than a deliberate act. Through Digital Stain Immersion the image unfolds in successive immersions, like a surface that absorbs, filters and reflects back. More than a technique, it is a way of inhabiting time through making. Where I recognize Gilles Deleuze — thought as a line in motion, a diagram that does not represent but acts — it is after the fact: the practice precedes the theory. My images are transitional spaces, unstable constructions held between structure and flow. My titles and texts suggest a direction rather than an explanation: the meaning is not fixed in the work, it happens in the encounter with whoever is looking.