My work is built around a visual and conceptual process I call “pig-ification,” in which anything I observe—objects, images, characters, or references—is translated into the form and logic of the pig. This transformation can be direct or subtle, but it always functions as a consistent visual language that reinterprets what already exists.

Through this system, I engage with art history, contemporary imagery, and everyday visual culture, not by copying or parodying them, but by reconfiguring them into a unified visual code. Each transformation becomes a way of filtering external references through a single conceptual lens.

The pig, in this context, is both subject and structure: it is the form through which images are reinterpreted and the framework that organizes the entire visual universe of my work. This allows each piece to exist as part of a broader system of translation, where meaning is not fixed but continuously reshaped through perception.