In
the process of painting I peruse my range of sensory perceptions, articulating
them in the composition via a spectrum of emotion-stimulating hues (various
shades of blue), a set of lines, scratches, and prints that have become my
distinct language.
The
line, etching, and "scratch" are fundamental to my work. In some
instances, the scratch-like engraving passes through all the layers, unearthing
the past; in some cases, it is blurred like a scar, which can transform into a
"character trait," a hallmark, but also a reminder of a painful,
still pulsating occurrence.
In
recent years I have been fascinated with frames: frame parts, sections of
monumental frames. The frame elicits questions such
as: What is present within the frame or what is absent; what is brought in and
what is left outside. The fact that it is only part of a frame, call for a meditation of the whole frame, what could have been the full picture and what happened to the frame and how big is the largest frame .
