Most of my work – mostly painting extending to works on paper, digital video – I understand as frames of dynamic transitions; as interfaces between an experience of interiority and its being interwoven into the screens that the outside and social webs provide.
How does the notion of the unfolding of an impersonal and personal ‘self’ in time connect to the materiality of paint?
To practice painting in this way means incorporating, each time in another way, forces beyond painting’s materiality: observations, research, memories with their ambiguous facets of intensities and otherness, love/aggression, dreams, the beautiful and blind spots.
Painting is for me developing and finding smaller or larger rites of passage, scenarios manifesting the involvement of imagination in the process of relating the layers of inside and outside.
The ‘handwritten’ (the immediacy of mark making), the affective dynamics of colours and the 'automated' (a calculated input of digital technology), reading and research build an integral background of my practice. However, apart from titles and voice-overs in videos, language disappears in the layers of paint.
I like to contextualise my work with aspects of ancient and modern painting so as to weave historical strands dealing with a similar interest into contemporary Becomings.
Outcomes often consist of series, groups or projects allowing me to cross-reference among different mediums.