Through drawing, digital works, books, and installations, I trace how presence of human scientific knowledge materializes: its migration across the porous borders between systems of understanding. What interests me is not the science itself, but its motion: the unstable zone where abstraction touches experience, where imagination collides with the everyday, revealing the grammar of thought in its most physical form. I approach this from a deliberately simple position — as an observer of the fragile moment when an idea becomes visible, when meaning shifts from perception to construction and back again.

The Inner School of Open Studies is the field where this inquiry unfolds. A project, which was started in 2016 as an evolving framework — a recursive environment for study, where knowledge is treated as a moving substance rather than a fixed structure. I’m drawn to points where intuition meets order, where language, calculation, and drawing operate as parallel modes of comprehension. The Inner School develops non-linearly, through study, experiment, and reconfiguration; its rhythm is closer to thinking than to product materialisation. Each work, regardless the chosen medium, is a fragment of research, an attempt to make visible what usually remains latent, abstract, or unnamed. Across twelve cycles — spanning mysticism, archaeology, drawing, explanation, laboratory study, and computational logic — the Inner School maps a genealogy of knowing, from the first inscription of a mark to the algorithmic imagination, from touch to code, from memory to speculation.

Each cycle can stand alone or enter into conversation with the others, forming temporary constellations rather than a single coherent order. What interests me is not the closure of research but its openness — the condition in which a work continues to think alongside its viewer, where learning is not transmitted but rediscovered, and where knowledge remains an unfinished act of attention.