I work with a deliberately limited palette, usually using only three or four colours.

This choice is not about simplicity. It is about concentration.


What interests me most is the interaction between colours and the phenomenon of simultaneous contrast. When colours are placed next to each other, they change each other’s appearance. A grey may appear blue. A green may become more luminous. The impression created by a colour depends not only on the pigment itself, but also on the colours surrounding it.


By limiting the palette, I reduce the range of available colour intensity and force every mixture to work harder. This creates stronger visual relationships and more active colour vibrations at the boundaries between colour areas.


These vibrations help me direct the viewer’s attention toward what is most important in the painting. Colour becomes not only a description of what is seen, but also a compositional tool. It guides the eye through the image and reinforces the central impression that inspired the study in the first place.