REÖK XXI. Biennial - when a painting leaves the studio

There are moments in an artist’s journey when a painting suddenly leaves the quiet of the studio and enters a larger space. It finds itself among other works, under different gazes, and somehow, something changes in it – and perhaps in me as well.

For me, being part of the REÖK XXI. Biennial was such a moment.

My painting Continuum – The Ontology of Movement was presented as part of the exhibition. The work is part of a longer artistic and conceptual exploration of movement, change and time, where geometric and organic forms come into tension with one another, yet also gradually dissolve into each other.

In my painting, I am often not trying to tell a story that can be clearly put into words. Instead, I am looking for a space for what is more difficult to articulate: rhythms, tensions, encounters. For me, the relationship that emerges between colours and forms is itself a way of thinking.

It was especially meaningful to see my work become part of an exhibition where different ways of thinking through painting could meet. In such a context, a painting no longer belongs only to its artist. It begins to live its own life, entering into a dialogue with other works and with the people who encounter it.

I therefore see my participation in the REÖK Biennial as more than another exhibition in my journey. I see it as an important affirmation that the visual language I have been intuitively – and increasingly consciously – developing over the years can enter a broader professional space.

And perhaps this is one of the most fascinating parts of making art: we can never know exactly where a painting will lead once we finally let it go.