I have always been enticed by the idea of creating
pieces that are sufficiently expressive individually, yet could also serve
as constitutive elements within a whole. Through the creation process each
piece searches for its autonomy and progressively, begins to construct
itself. Each piece therefore holds the potential to be independently
representative and also exist within a variety of combinations, thus could
serve as a starting point for future installations.
It is painting approached as a malleable plastic
art form that has been most appealing to me. I prefer to experimenting and
allowing each piece to evolve gradually, rather than undertaking the
process with a set concept in mind (through visual reference, for
The frames that
I use vary, but my preference is for the 100cm square format because it
allows me to work from different angles without deciding its « correct »
position from the start. As I apply the paint to the framed canvas, I
strive for a sole deliberate texture, one that appears rather
monochromatic. Everything starts with the choice of canvas. The canvas,
with its autonomy, serves as both the base of each work onto which the
paint is applied, and the structural foundation. Each step is significant
and influences the finished piece.
I also work with words—specifically, with their
potential to exhibit the relationship between the literal and the nuanced.
The paintings are not only texture that is literally present, but also
texture in a figurative way. I « weave » onto the « text-ure » the
embroidery of words, usually well known archaic phrases, clichés, but also
excerpts from different types of literature, or simply my own
combinations, because I am fascinated by their meaning – more often than
one – and the capacity for layered interpretations. The words, with their
simple graphical presence, complement the pictorial richness, become one
with the visual and govern, to an extent, with their diverse meaning.
I am also inspired by politics and the
characteristics of the environment in which I live, so some of the words
are reflective of our day-to-day. Many of them also describe my work, in a
way, and could serve as possible definitions of art in general—not
excluding the humor and sarcasm, of course. My hope is to succeed in
harmonizing the conceptual, the derisory and the contemplative scope of
painting through color and the pictorial richness on one side and words
and their insinuations on the other, and that the process of melding these
ideas transforms my pieces—both individually and as a whole—into a
dynamic, self-renewable foundation.