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As a painter, I express myself in both abstract and figurative forms in my work. In both cases, I work more from observation than from a concept. Observation coupled with curiosity and interest in the world around me. I perceive this world as erratic, complex, and bizarre, alongside being beautiful and confusing. This world is primarily present externally and reveals itself as such, but it also unfolds within the inner self and occupies a significant space there. The relationship between the real and the inner is often decisive in shaping my work. Within that realm, the work maintains its presence and seeks anchorage in terms of form, context, texture, and pictorial elements. What is visible and perceptible in my work may be partially recognizable. However, it does not necessarily have to reveal its mystery(ies) easily. Just as I seek personal figuration and identification within it, the viewer can search for their individual interpretation.
What do I see, how do I experience it, and what is the way to represent that experience? It always revolves around making choices and defining them from an immense collection of possibilities. Are the choices made sufficiently readable and do they effectively communicate the underlying ideas through their translation onto canvas? It is always a matter of constant artistic (re)formulation, an unceasing process of getting closer to myself and thereby closer to the chosen subject, while avoiding becoming rigid by, for example, applying tricks, repetitions, or simplifications.
I prefer to call myself a painter. A painter of images that can resonate with an audience for some reason, that can provoke thought or evoke emotion, but also allow questions to be asked about what is being seen. Hopefully, viewers will break through the surface of the work, meaning through the texture of paint and color palette. In other words, beyond the aesthetics that inevitably or unavoidably form part of the work but do not constitute the main component, at least not from my perspective. Aesthetics arise from the combination of subject and (paint) treatment; they are never my starting point or reason for creating a work.
My subjects are varied: faces, facts - whether or not taken out of their context - and sometimes even (urban) landscapes in which light plays a significant role or can even be the inspiration. I do not have or follow a specific program; instead, I search for subjects that are "paintable," or conversely, almost impossible to paint - as a challenge. The challenge lies mainly in how the work takes shape on the canvas. This process is essential to me; it doesn't have to come naturally, sometimes quite the opposite, as the search yields new insights and, consequently, images or solutions.
Perhaps I should call myself a colorist because color (and color composition) plays a leading role in my work. The more unrealistic the colors, the more real the subject sometimes appears on the canvas. However, regardless of what I paint, it always comes down to the viewer's perception in response to what they "see," suspect, or believe they perceive.
What do I see, how do I experience it, and what is the way to represent that experience? It always revolves around making choices and defining them from an immense collection of possibilities. Are the choices made sufficiently readable and do they effectively communicate the underlying ideas through their translation onto canvas? It is always a matter of constant artistic (re)formulation, an unceasing process of getting closer to myself and thereby closer to the chosen subject, while avoiding becoming rigid by, for example, applying tricks, repetitions, or simplifications.
I prefer to call myself a painter. A painter of images that can resonate with an audience for some reason, that can provoke thought or evoke emotion, but also allow questions to be asked about what is being seen. Hopefully, viewers will break through the surface of the work, meaning through the texture of paint and color palette. In other words, beyond the aesthetics that inevitably or unavoidably form part of the work but do not constitute the main component, at least not from my perspective. Aesthetics arise from the combination of subject and (paint) treatment; they are never my starting point or reason for creating a work.
My subjects are varied: faces, facts - whether or not taken out of their context - and sometimes even (urban) landscapes in which light plays a significant role or can even be the inspiration. I do not have or follow a specific program; instead, I search for subjects that are "paintable," or conversely, almost impossible to paint - as a challenge. The challenge lies mainly in how the work takes shape on the canvas. This process is essential to me; it doesn't have to come naturally, sometimes quite the opposite, as the search yields new insights and, consequently, images or solutions.
Perhaps I should call myself a colorist because color (and color composition) plays a leading role in my work. The more unrealistic the colors, the more real the subject sometimes appears on the canvas. However, regardless of what I paint, it always comes down to the viewer's perception in response to what they "see," suspect, or believe they perceive.
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