As a basis for my work I use wood and paper. I usually act simultaneously on fifteen or twenty works.... Read More
As a
basis for my work I use wood and paper. I usually act simultaneously
on fifteen or twenty works. This procedure gives me the possibility
to maintain a certain psychic distance from my works. By
superimposing layers of resin and flowing colors, a depth is created
that reinforces the intention to create works that can be read on
different levels. Working in parallel with several works makes it
possible to put aesthetics in the foreground: the goal I
aspire to, is to bring form and colour in tune, to achieve harmony
and balance that becomes perceptible to the viewer and where the
sense of beauty plays an important role. Confronting this complex
theme shows that the boundary between beauty and ugliness, between
harmony and dissonance can be very blurred and it is in this grey
area that I
feel at ease. The same is true for concepts such as abstraction or
concretion: how much can shapes or colours be in contrast with each
other, holding each other side by side or even strengthening each
other? How long can you mix planes and layers before they are no
longer readable as something figurative?
