I have long envisioned a mythical jungle—one that transcends geography and unfolds across collective cultural narratives. It is not bound to any single place, it lives in our shared imagination. Lately, I’ve explored this theme primarily through painting, seeking a visual language that echoes digital aesthetics. For years, this timeless forest has existed in my mind: a realm unanchored, yet deeply rooted in mythology and symbolism. In my paintings, I render this imagined jungle as a hybrid space: simultaneously alive and encoded, lush and digital. Electric shades of green suggest a synthetic language, as if the forest speaks in ethereal pixelled chlorophyll. I have named the jungle; New Gynæa. The name recalls the exoticism of New Guinea, but its true origin lies in the Greek word gynæa, meaning “female” or “of female nature.” Homer, in the 8th century BCE, wrote of the Amazons—legendary warrior women on the edge of the known world. In the 16th century, Orellana named the region “Amazonas” after encountering such women. These layered stories—mythical, historical, colonial—form the roots of New Gynæa.

New Gynæa is inhabited by eternal energies made manifest as sculptural goddesses—figures suspended in waiting, yet ever-present. They are not relics of myth, but living symbols, offering their power to anyone willing to connect. Their energy lies dormant until activated—again and again, across time. They stand as eternal echoes, patiently awaiting our remembrance. These feminist archetypes—The Wrestlers, The Hunters, Diadumene, and Rán—are sculptural figures that function as avatars, waiting to be activated. These sculptures have developed slowly, over years, through different media in my studio—and more may yet emerge. I draw inspiration from Merlin Stone’s book from 1967 When God Was a Woman, especially her investigation into how early patriarchal religions systematically erased feminine symbols and deities. Her research reveals how matriarchal belief systems—once centered around goddesses, fertility, and cyclical time—were overwritten by monotheistic structures that demonized female power and redefined divinity in male terms. This historical shift continues to inform my work, as I explore what was lost and what might be reclaimed.

Blue Rain, 2018
Oil on two canvases weaved together, 33 x 33 cm

Through the Hammock, 2018
Oil on two canvases weaved together, 30 x 30 cm

Jungle Dreams Reevoked by Greenhouse Scents, 2024
Acrylics and oil on two canvases woven together, 170 x 150 cm