In painting I engage with the process of perceiving reality, the impossibility not to filter it through associations, feelings and memories, personal and impersonal. Continuously in motion, perceptions shape the borders between imagination and observation, the screens between outside and inside.
None of my works are fully planned. Often though, there is an initial focus on a possible subject or notion.
The impact of spontaneity fascinates me and it allows painting or drawing as an evolving journey. There is both, consciously deciding and ‘letting oneself paint’ as well as touching, perhaps like a shaman, hidden sediments of time and memory.
Duration and time, becoming and dissolving have shaped the formal aspects of my works.
Others in the deep time of art who I admire have dealt with a similar focus on how imagination shapes perception. Alchemical Renaissance imagery for example visualises psychological realms and transformations in the most imaginative way.
I feel strongly about connecting to the history of painting and refer freely to certain aspects of ancient and modern painting so as to fold them contemporary Becomings.
My practice evolves around the question: how does the notion of an unfolding ‘self’ in time, with its own colours and dynamics, yet always already touching otherness and the outside, relate to the materiality of painting/drawing and its restriction to producing ‘still’ images?