Petra Madalena is where my way of seeing turned into a practice — the point where design and visual direction finally stopped competing and started working together.
Most days I build visuals for different projects. The rest of the time, I work on furniture pieces at a pace that feels human, not industrial.
There was a period when I tried to keep up with everyone else — producing fast, staying visible, chasing whatever rhythm the world was running on. It never felt like mine. It pulled me away from the reason I started creating at all.
Slowing down wasn’t some spiritual choice; it was survival. And it brought me back to the work in a way that actually feels honest.
I was born in Hamburg, raised in Vilnius, now based in Lisbon. I like places that aren’t polished — cities that are messy, loud, a little chaotic. They remind me that real things rarely arrive perfectly arranged.
Before all this, I spent more than ten years in professional rhythmic gymnastics. It taught me discipline, endurance, an obsession with detail — all useful until they get in the way. Perfection is great for sport, terrible for creativity. At some point you have to let go, make room for mistakes, let the work breathe.
Later, I moved through different creative roles and projects that forced me to learn fast, fail fast, and stand back up even faster. That’s where I found my voice — in the trial-and-error, the discomfort, the small wins that build into something larger.
Today, Petra Madalena sits between visual direction and design.
It’s built on clarity, instinct, emotion, and the freedom to create at a pace that actually makes sense.
A quieter rhythm. My own.
