I understand my work as making visible perceptions, which are difficult to talk about (and nevertheless real) and which happen at the borders of imagination and observation: tangible yet constantly changing realities, ambiguity of meaning, the in between that comes with relating to others, the screens between outside/inside.
None of my works is fully planned, however, there is often an initial focus on a possible subject or notion. I’m interested in exploring the impact of spontaneous and unconscious imagery as it allows me painting or drawing on the border of an evolving journey of conscious decisions while keeping an attitude of ‘letting oneself paint’; as communicating, perhaps like a shaman, with sediments of time and memory.
The elements of duration and time, becoming and dissolving have shaped the formal aspects of my works.
Because others in the deep time of art who I admire have dealt with a similar focus on how imagination shapes human worlds to the better or worse, my work refers also to aspects of ancient and modern painting so as to fold some historical aspects into contemporary Becomings.
I am especially interested in alchemical Renaissance imagery when it refers to psychological realms and transformations, and to Baroque paintings depicting mythological themes in landscapes. Digitally manipulated fragments of such sources, projected onto the emerging work, can build references or temporary springboards for new connections.
The ‘handmade’ (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. It evolves around the question: how does the notion of an unfolding ‘self’ today, which is always already merging with otherness and an impersonal outside, relate to the materiality and process of painting/drawing?