“Skinscapes” is an ongoing series of paintings in which skin is understood not as a boundary but as a superficial relationship—as a contact zone between the self and the world. Inspired by Sara Ahmed’s reflections on skin as a site of social and affective encounter (“skin as a surface of social encounter” and “Thinking through skin”), the work examines skin not as a shell, but as a landscape of sensation, memory, and political inscription.

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The paintings move between abstraction and physicality. Layers of color, textures, fine overlays, and cracks create pictorial spaces that are reminiscent of skin—not in an illustrative sense, but as a material figure of thought. The picture surface becomes a resonance chamber for states such as touch, friction, demarcation, or permeability.

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Material like asphalt, concrete, resin, rust, steel, glas, synthetic fur and many more are the main characters in this series.

Skinscapes asks how surface works—emotionally, socially, structurally. Painting here serves not to represent, but to test proximity and distance, vulnerability and resistance. There is no singular perspective metaphorical and vis-a-vis to the work itself.