Works

My work is rooted in an intuitive, process-based approach to abstract painting. Color, texture, and surface are treated as active elements, shaping each composition through layering, interruption, and reduction.
Some paintings stand as individual works, while others develop within series that allow visual themes, structures, and emotional questions to be explored across multiple pieces.
Rather than illustrating fixed ideas, the works remain open. They are conceived as visual spaces that invite personal interpretation and sustained looking.
For inquiries about available works and fine art prints, please get in touch via the contact page.

This series examines states of external pressure and inner overload through reduced visual language and strong contrast. It does not illustrate these conditions, but investigates how they become structurally visible, not as atmosphere, but as spatial and relational tension in the image.

The compositions are built around a restrained, light ground intersected by strong linear elements. These lines function as structural forces, suggesting social systems, expectations, and frameworks that both organize and constrain. They appear stabilizing and disruptive at once: ordering, yet unpredictable. Structure is treated here not as neutral order, but as an active and ambivalent influence that directly interacts with the emotional zones of the composition.
The orange zones act as concentrated fields within the image. They mark the emotional state of an individual under pressure: condensed, exposed, and active within structural constraint. They function as counter-presence rather than accent.
The works were created under physical strain and external pressure. This becomes visible in the interplay between controlled interventions and open, flowing passages, as well as in the visible reworking of the surfaces. Material decisions remain direct and process-led, allowing instability and revision to remain visible. Perception is therefore not secondary, but constitutive to the work’s meaning.

Pressure Marks

“Pressure Marks III - Redirected”, 40×60 cm, mixed media.

Abstract Zoo looks at the contradiction between freedom and structure. A zoo stands for control, display, and limited movement. Abstraction suggests openness and the loss of clear borders. This series lives in the tension between these two ideas.
The animals do not move through natural landscapes. They live in emotional color spaces. These color fields stand for inner states:
- blue for vulnerability and the soul, sometimes also sadness;
- red for energy and joy;
- gold for dignity, something precious, and celebration.
The animals walk on painted lines. These lines are not cages, but they are not freedom either. They are social paths: structures that guide movement, behavior, and visibility. On first glance, everything looks open and free. But the figures can only move where lines exist.
The monkeys and zebras appear in pairs. They try to create individuality through clothes, jewelry, and patterns. They want to be seen as different, even while walking inside the same structures. Their individuality happens inside a system that they did not choose.
This reflects modern society. We are told we are free and unique. We choose our style, our image, our identity. But we still move inside systems: work, roles, expectations, performance, visibility. Freedom is suggested, but structure remains.
The chameleon breaks this logic. In nature, it stands for adaptation. Here, it does not adapt. It stays black, white, and gold. It does not blend in. It does not move forward. It sits still on its line. Not adapting becomes its position.
Abstract Zoo is not about animals. It is about beings in systems: about movement that looks free but follows lines, about individuality that exists inside rules, and about the quiet question of what happens when someone no longer plays along.

Abstract Zoo

“Abstract Zoo III – Zebras”, 50×70 cm, mixed media.

Shaped, Not Shown is a series of abstract mixed media paintings that explores how identity is formed through social shaping and partial concealment.

Each work begins with vivid, saturated color fields that carry impulse, energy and intensity. These layers are not erased, but deliberately overlaid with muted or neutral surfaces. What remains visible are fragments, traces of what was there first. The paintings do not conceal color completely. They regulate its visibility.
This process reflects a common social experience: individuality is not removed, but filtered. Expression is adjusted, softened, or restrained through norms, expectations, and learned behavior, and at times through pressure or force, not only through adaptation. The black splatters in the foreground point to enforced adjustment and moments where adaptation is not voluntary.

Shaped, Not Shown

“What breaks through”, 50x70 cm, mixed media on raw canvas.

“Learning to disappear”, 50x70 cm, mixed media on raw canvas.

“Formed by others”, 50x70 cm, mixed media on raw canvas.

This series emerged over the course of a summer, shaped by moments of brightness, fatigue, and quiet persistence. Built in layered mixed media, vivid colors and playful gestures surface and recede beneath softer tones, as if light itself were slipping in and out of reach.
Loose lines move through the compositions like traces of movement or breath, connecting, interrupting, and reappearing. The works hold a tension between joy and vulnerability, energy and slowing down. Rather than capturing a single moment, the series reflects a gradual fading and a gentle insistence on presence: color that remains, even when strength feels diminished.

Traces of Summer

“Play of Summer”, 40×50 cm, mixed media.

“Serenade in Blue“, 40x60cm, mixed media.

While Resting is a series of three small-scale drawings created during a period when working on canvas felt too demanding, yet the need to create remained. Using only black marker on paper, the works focus on line, rhythm, and presence, without color, without a predefined concept.
Each drawing emerged intuitively from the previous one, guided by repetition, variation, and pause. The works are not identical, but they belong together through contrast and quiet coherence. The series reflects a reduced, attentive way of working, where making art becomes an act of staying present rather than producing an outcome.

While Resting

“While Resting – Part III”, 14,8 × 21,0 cm, black marker on paper.

Juano’s Wish emerged from an intuitive shift toward working in black and white, prompted by an external impulse that opened a new creative space. Limiting the palette became a way to heighten attention to gesture, texture, and contrast.
Through layered surfaces and restrained marks, the works explore the tension between softness and structure, presence and absence. The series unfolds as a quiet conversation between light and shadow, inviting contemplation rather than resolution.

Juano’s Wish

Just Pigment on Canvas is a series that explores painting at its most reduced state. The works are created using pure pigment powder fixed with pouring medium and acrylic varnish, nothing added, nothing explained. Color and texture become the sole carriers of expression.
The series emerged as a conscious response to the idea that painting could be reduced to its bare minimum. By working without imagery, narrative, or symbolic reference, the focus shifts to material presence, surface, and the physical behavior of pigment on canvas. Each work stands as an exploration of how color exists, settles, and resonates on its own.
Just Pigment on Canvas treats reduction not as loss, but as intensity, inviting viewers to encounter painting as matter, sensation, and presence.

Just Pigment on Canvas

“Just Pigment On Canvas III”, 40 × 50 cm, mixed media.

“Just Pigment On Canvas IV”, 50 × 70 cm, mixed media.

“Just Pigment On Canvas V”, 30×40 cm, mixed media.

“Just Pigment On Canvas VI”, 30×40 cm, mixed media.

This series reflects the coexistence of strength and softness. Each work is an abstract expression of emotional depth, using bold forms and color contrasts to explore the space between clarity and vulnerability.

Confident and Vulnerable

“Confident First”, 40x50 cm, acrylic on canvas.

„Beneath the Quiet“, 40x50cm, acrylic on canvas.

„Rooted in Light“, 40x50cm, acrylic on canvas.

Individual Pieces

These works are presented as individual pieces. While some show visual or thematic relationships, each painting is developed as an independent, self-contained work.

„For Thomas“, 40x60cm, acrylic on canvas.

„Golden Splash On Blue 1“, 30x20cm, acrylic on canvas.

„Golden Splash On Blue 2“, 30x20cm, acrylic on canvas.

„Pieces, Yet Whole“, 30x40 cm, acrylic on canvas.

“Heart Like Fire”, 30×40 cm, acrylic on canvas.

“To Breathe Again“, 50×70 cm, mixed media on raw canvas.

“I Was Still in the Woods“, 60×40 cm, mixed media on raw canvas.

„Neon Heart“, 20x20cm, acrylic on canvas.

„Copper and Blue“, 30x20cm, acrylic on canvas.

„Circles and Lines“, 30x30cm, acrylic on canvas.

"Where Joy Begins", 50x70cm, mixed media on raw canvas.

"Whispers from the Fields", 50x70cm, mixed media on raw canvas.

"I Wanna Love You, But...", 50x70cm, mixed media on raw canvas.

„Whispers Below 1“, 40x60 cm, mixed media.

„Whispers Below 2“, 40x60 cm, mixed media.

„Neon Landscape 1“, 40x30cm, mixed media.

„Neon Landscapes 2“, 40x60cm, mixed media.

„Neon Landscapes 3“, 40x60cm, mixed media.

“Satisfaction”, 40x50cm, acrylic on canvas.

„Something Blue“, 40x30cm, acrylic on canvas.

„Blue Mountains“, 30x20cm, acrylic on canvas.

„For Dennis“, 30x40cm, acrylic on canvas.

“What happened to the 80s?”, 40x50cm, acrylic on canvas.

„Blue Bird“, 60x80cm, acrylic on canvas.

“Fragments of Sorrow”, 40×50cm, mixed media.

“After the Noise”, 50x70cm, mixed media.

„Night King“, 30x40cm, acrylic on canvas.

„Between Leaves“, 30x40cm, acrylic on canvas.