In her practice, she develops an approach she defines as synecdochical quasi-realism in the sense of pars pro toto – the image does not emerge as a whole, but as a fragment that stands in for a larger, often unseen entirety. The figure is not a depiction of a specific individual, but a carrier of a state, a process, or an internal condition.

Her paintings are not representations of reality, but situations – formed through layering, erasure, and the search for the moment when the image begins to exist on its own. The fragment replaces the whole, and the image operates as a condensed trace.

Light does not function as a descriptive tool, but as an active element within the painting – a point of concentration, resistance, or inner movement.