My interest lies in the reflection of our human condition in relation to the act of painting.
The balance of painting that allows the power of thought as well as the power of feeling. The capacity to reflect on our own nature, to abstract but also to feel: the rational and sensuous experience.
Painting as a visual language that embodies the essence of our humanity. Painting as a thoughtful activity that is at once aesthetic and phenomenalogic being part of our evolving existence.
I work in series, exploring these ideas from various sources in an expanded field of painting.
The relationship on systems, decision-making and chance permeates my process of painting. My own rules as well as games provided me with a base for the paintings, issuing instructions and outlining my strategies. Rules are useful, one might feel in control in an attempt to order the unpredictable reality. But as Benoit Mandelbrot said there is a 'wild type of randomness of which we will never know much'. I allow self-determination and the element of chance to enter the painting process to reflect on subjectivity and the accidental.
Playfulness is present as a concept as well as in the process of painting. Playfulness as an inner condition to human nature, a playful thinking that enhances curiosity, brings pleasure in discovering, opens up new possibilities in the work.
In the series ‘Flowing’(2007-09) the thinking arises from geometry to be intermingled with the ludic. Geometry as a mathematical language to understand and develop realities. From a mathematical source my interest relied on a 'primary form' as basis to develop greater complexity. The square shape cut with an arch composed the rest of the shapes which became the creation of a puzzle. Starting with interactive wood pieces, the figures realized on the floor developed into paintings. Deciding on the different relationships between form, composition and colour I would construct a cromatic puzzle in each painting, showing the possibilities of interaction creating a sense of construction whilst at the same time introducing a unique rhythm/dynamism of colour.
The series ‘Nationless’ was made in my arrival in Berlin from Oct to Dec 2009. I hold a phenomenological, critical but also playful reflection on the abstract forms and the national meaning of flags. In this group of paintings I reduced the formal aspect of worldwide flags to its minimum and removed all national symbols. Colours were also freed and qualities of paint combined to emphasize the abstract language in the paintings.
The series 'IKI' (2010) I am exploring language as another essential aspect of the human condition. The interest relies in interweaving abstract painting and language itself as two systems of expression. Both intertwine creating a dialogue: The realization of language as an abstract form that becomes the painting structure questioning the limits of written language. On the other hand, abstract painting as a language, as a means of structuring colour toward a meaning both, felt and intellectually understood.
I keep experimenting with the physicality of the artwork, textures and colour. I believe the phenomenological has relevance in understanding how we feel and perceive reality. I hand-paint basic shapes in order to reinforce human activity and its imperfect condition.
I want to I create a space for experimentation and playfulness within painting. I want my artwork to have an immense energy, both vibrant and full of humanity.