Beauty has long been sidelined in serious art in favor of the sublime or the conceptual. Perhaps my inclination towards hedonism drives me to ensure that the form and sensual experience are as powerful as the underlying idea. For me, beauty is not ornamental; it is a tool. An aesthetically pleasing piece can open a conversation with a reluctant audience, softening the message and making it more palatable. Beauty can also have a cathartic effect, creating a deep emotional connection and release for the spectator.

One of my formal research goals is to broaden the concept of beauty. It is not static but evolves over time, reflecting the ideologies of specific eras. By consciously appropriating styles from different periods, I revisit and reinterpret those historical ideas, tying them to contemporary issues. Beauty, therefore, becomes an instrument to master and exploit the transformative power of art. For example, beautification can change the perception of a forgotten space or reclaim the space itself.

Dance has been a core element of my work since the beginning of my career. It is not just a discipline but a language through which I express my ideas. Performance, as captured through photography, communicates more than just the beauty of form and movement; it conveys cultural conventions and social rules. Many of my subjects are professional performers from circus arts, contemporary, or classical dance. Over time, I have developed the ability to treat all my models as dancers, incorporating a clear sense of performance and non-verbal communication into the creation of my images.

Using dance as a medium allows me to portray human behavior as performative, shaped by cultural conventions. This approach underscores the idea that our actions and interactions are governed by the social rules of our environments.