Two decades of illustration 
have taught me that contrast has always been my starting point in creating images.
The first stains on paper and canvas, the dominance of points and lines over the whiteness of the surface, shaped the contrast. However, when creating images in service of a narrative, the efforts to organize points and lines became less significant. The audience, in search of the story, would lose the joy of understanding the principles of imagery.

In a conscious decision, I distanced myself from storytelling to organize contrast within the image, independent of a narrative. Geometry became a safe haven for my explorations—a geometry that, in its initial sketches, revealed an incomplete image laden with excessive ornamentation. Architect…