My work takes imaginary landscapes and still lives as a point of departure. They invite the viewer to move through the different layers and explore various interpretations. Through my combination of techniques, I embrace randomness and spontaneity in a mix of real and invented. I explore the role of the fragmented and overlapping memories that make up my collective life. I analyze aging and the role that memory plays, shifting thoughts that fade over time. Those compositions don’t belong to one place and one time but rather they compete and add disparate layers to create a new dimension. Before I start working, I never have a clear idea of where I want to go with the piece or what exactly it is meant to depict. My work is therefore the culmination of my experiences, an expression of what it means to give voice to my emotions.
Layering is essential in my compositions. Each layer acts as ‘a chapter’ and together they create ‘a book’ or a story. Ultimately, my works are layered universes of explosive reality in the constraints of a mostly two-dimensional plateau, offering my viewers and myself the opportunity to reconcile the chaos of the composition.
The randomness of my process, informs the composition. My work unfolds over time, as I like to work on multiple pieces at the same time, moving from one to the other and never lingering too long on each one. I then put these pieces away and return to them at a later date. This rotation between pieces creates a sort of conversation between the various works. As a result of my spontaneous process, my art expresses a quality of authenticity that is hard to replicate. Though abstract, my work is a form of emotional realism as it demonstrates the unpredictability of our world.
I tend to work with shifting angles, creating a sense of pattern that does not necessarily feel like a landscape rooted in reality. Viewpoints are fractured and colors are vibrant. Not bound by the constraints of pursuing perfection, I embrace imperfections in all of their beauty, choosing to highlight them instead of obscuring them. What interests me most are the “outtakes”, the random marks that can lead into a different direction in between print and transfer and paint.