I’ve been painting for around 17 years — not every day, not as a career at first, but as something that never left me.

For 12 years my main work was tattooing. It taught me precision, it taught me how people relate to images on a personal level. But eventually it started to feel like a box. So I stopped, and gave everything I had to painting — to studying it, analysing it, practising it obsessively.

My style grew from an unlikely combination: a Blythe doll I ordered off AliExpress, the unsettling world of Little Nightmares, and years of quietly watching how light, proportion and atmosphere change the way we feel. Over time I pulled in influences from CG art and cinema, and the work became more cinematic — less about a single character’s expression, more about the entire world they inhabit.

That shift is still happening. Right now I’m moving toward world-building: environments that set the mood before the character even speaks.

I also have a YouTube channel where I share what I’ve learned — colour theory, composition, how visual perception actually works. Not tutorials exactly. More like thinking out loud about why art does what it does.

And soon: small pencil-drawn characters on clothing. Because not everyone wants to hang art on a wall. Some people want to wear it.