News

Art direction for an album cover for a New York jazz band

I led the art direction for an album cover for a jazz band based in New York, United States. This project is part of an ongoing exploration of visual rhythm, structure, and the translation of a sonic universe into an image.

The composition is built like an entry into the music: a central space, a tension, then a release. The shapes—drawn from my painting practice—act as autonomous fragments, assembled to create an immediate reading: both graphic and intuitive.

A deliberately reduced palette allows the image to work at every scale: physical object, digital platform, streaming thumbnail. Typography is integrated as a component of the visual system, in dialogue with the forms—without ever dominating them.

This project extends my work across painting, design, and portable objects: how an image becomes a transportable fragment, how a work circulates across formats, and how art finds its way into everyday life.

Studio research: fragments, systems, and variations

Studio work continues around new black-and-white series, conceived as dense, explorable worlds. Each painting becomes a territory from which fragments are extracted, then translated into color, reduced formats, or objects—developed through an ongoing studio practice in Dubai, United Arab Emirates.

This research phase makes it possible to refine compositional systems, relationships between forms, and palettes—while leaving space for accident and intuition.

Developing a visual identity for the contemporary jazz scene in the United States

Alongside album artwork, I am developing visual systems for musicians from the American jazz scene, primarily based in New York and Brooklyn. These identities are conceived as evolving structures, adaptable across vinyls, digital platforms, posters, and live performances.

The goal is not illustration but translation: converting rhythm, improvisation, and silence into visual tension and spatial composition.

Studio practice in Dubai: slow painting and structural experimentation

Working from my studio in Dubai, United Arab Emirates, I explore slow painting processes, allowing forms to appear through repetition, erasure, and accumulation.

The studio becomes a laboratory where painting, design, and object-making overlap, shaping a language that moves freely between art and applied form.

Preparing a new body of work for international exhibitions

A new series is currently in preparation for upcoming international presentations, including projects connected to the United States art scene.

The works focus on fragmentation, modularity, and the circulation of images between painting, print, textile, and digital space.

From painting to object: limited editions and portable works

Several new limited editions are in development, transforming painted fragments into portable objects designed to circulate beyond the studio.

These pieces extend the life of a painting, allowing it to exist in new contexts: homes, music collections, and everyday environments.

Ongoing collaborations with jazz musicians in New York City

Several long-term collaborations are developing with jazz musicians based in New York City. These projects explore how visual composition can echo improvisation, tempo, and silence.

Each collaboration is conceived as a dialogue: the music informs the image, and the image reshapes the way the music is perceived across physical and digital formats.

New painting series developed in the Dubai studio

A new body of paintings is emerging from the Dubai studio, focusing on balance, restraint, and the tension between control and spontaneity.

The works are built slowly, layer after layer, allowing time to shape the final structure of each composition.

Researching visual systems: from painting to design language

Current research focuses on the creation of visual systems that can exist simultaneously as paintings, graphic compositions, and design tools.

This approach allows each form to evolve while remaining part of a coherent visual language, adaptable to exhibitions, albums, objects, and digital spaces.

Limited editions inspired by studio fragments

Fragments extracted from large-scale paintings are transformed into limited editions, printed on silk, paper, and experimental materials.

These editions function as autonomous works, while still carrying the memory of the original painting.

Building bridges between the United States and the United Arab Emirates

My practice increasingly moves between the United States and the United Arab Emirates, connecting cultural rhythms, artistic communities, and modes of production.

This movement informs both the visual language and the conceptual framework of my work, creating a dialogue between contexts, speeds, and scales.

Time as material: slow processes and long-term projects

Time has become a central material in the studio: works are developed over months, sometimes years, allowing ideas to mature through repetition and revision.

This slow rhythm contrasts with digital immediacy and anchors the work in a physical, tactile experience.

Designing album covers as visual compositions for American jazz labels

Album covers created for American jazz labels are approached as visual compositions rather than illustrations. Each cover is built with the same attention as a painting, balancing rhythm, silence, and tension.

The image becomes a threshold: a visual entry point into the music, shaping the listener’s first perception before the sound begins.

Daily studio rituals and long-form research in Dubai

The Dubai studio functions as a space for daily rituals: repetition, observation, and slow decision-making. These gestures accumulate into complex visual structures.

This long-form research allows new systems to emerge organically, without predetermined outcomes.

Objects as extensions of painting

Objects developed from the paintings are not secondary products but extensions of the work. They carry the same compositional logic, translated into tactile, functional forms.

These pieces allow the work to circulate beyond galleries, entering domestic and musical environments.

Translating improvisation into structure: lessons from New York jazz

Working with New York jazz musicians has deeply influenced my approach to composition. Improvisation becomes a method: controlled freedom within a defined structure.

This balance between openness and restraint now shapes both my paintings and design work.

Preparing works for upcoming exhibitions in the United States

A selection of recent works is being prepared for upcoming exhibitions in the United States. These pieces explore scale, modularity, and the circulation of images across contexts.

The exhibitions will present painting, editions, and objects as a single, evolving system.

Painting between light and architecture in the UAE

Working in the United Arab Emirates has transformed my relationship to light, space, and architectural rhythm. The environment directly informs the composition of the work.

Large surfaces, strong contrasts, and pauses of emptiness are now central to the paintings.

Designing images for streaming platforms and digital listening

Digital listening environments require images that function at very small scales. This constraint has refined the visual language toward clarity and essential forms.

The challenge is to preserve depth and emotion within minimal visual space.

Building a long-term practice between art, design, and music

The work continues to develop at the intersection of art, design, and music, with projects unfolding across years rather than weeks.

This long-term vision allows each project to resonate beyond its initial context, creating a coherent and evolving body of work.

Studio practice in Dubai: building a language through repetition

Working from my studio in Dubai, United Arab Emirates, I have developed a practice rooted in repetition, restraint, and long observation. The studio is not only a place of production, but a space of calibration, where each decision is tested against time rather than speed.

Paintings emerge slowly, through layers that are added, removed, and reconfigured. This process allows forms to appear gradually, as if they were being revealed rather than invented. The environment of Dubai—with its light, architecture, and scale—deeply informs this rhythm of work.

Over time, the studio becomes a system: gestures repeat, palettes stabilize, and structures begin to speak to each other across different works. What starts as an isolated painting often becomes part of a larger visual family.

From intuition to structure: how paintings become systems

Each painting begins intuitively, but the work only truly starts when structure appears. I am interested in the moment when a spontaneous gesture becomes part of an organized system, when chaos slowly resolves into coherence.

This transformation is never forced. Instead, the painting is observed, rotated, reworked, and sometimes dismantled, until it reveals the logic that already exists within it. That logic then becomes reusable, transferable, and adaptable to other formats.

In this way, a single painting can generate multiple outcomes: new canvases, objects, editions, or design elements. The studio becomes a place where intuition is translated into method.

Developing an international practice between contexts and scales

My work increasingly unfolds between different geographic and cultural contexts, particularly between the United States and the United Arab Emirates. This movement creates productive tension between ways of working, perceiving, and producing.

In the United States, the work often engages with circulation, visibility, and scale. In the UAE, the studio offers time, space, and silence. Moving between these contexts allows the work to remain open, flexible, and responsive rather than fixed.

This duality shapes both the form and the content of the work, creating pieces that carry multiple temporalities and readings within a single structure.

When paintings become objects: extending the life of an image

The transformation of paintings into objects is not a secondary step, but an essential part of the practice. An image is never finished when the painting ends—it continues to evolve as it moves into new materials and formats.

Fragments are extracted, isolated, and reassembled into editions designed to circulate beyond the studio. These objects carry memory: traces of scale, gesture, and decision that remain visible even when the format changes.

Through this process, the work becomes mobile and porous, capable of entering everyday spaces without losing its conceptual integrity.

Time as a material: slow processes and long-term vision

Time is treated as a material in itself. Works are rarely completed quickly; they remain in the studio, sometimes for months or years, before reaching a form that feels resolved.

This slow rhythm allows ideas to mature, weaken, strengthen, or transform completely. It also resists the pressure of constant visibility and production, favoring depth over volume.

The resulting works carry this duration within them. They are not images of speed, but images of accumulation, patience, and persistence.

Architecture, space, and the influence of place on the studio

The physical environment of the studio plays a crucial role in shaping the work. Walls, light, ceilings, and distances between paintings influence how decisions are made.

In Dubai, the relationship between architecture and light creates a constant dialogue between inside and outside, shadow and reflection. This dialogue becomes visible in the compositions, where space is treated as an active element rather than a background.

The studio itself becomes a collaborator: a silent structure that shapes the work as much as any tool or material.