My research has always had a strong painting feature. During the last year, I’ve been constantly thinking of the pictorial support as an object made up of single parts, and the canvas as a surface on which to record precise actions. They have got a time component, which is always variable, and look like intimate performances. Some of my works are fast conceived or require laborious and long processes; others consist of a mimesis of gestural actions. So there’s always a “layer” between me and the support that filters, resets or cools my action down. All these processes are clear on a visual level under different and unexpected shapes, such as the installation that I showed at CARS.
I believe there’s always a strict and precise element in my work that is planning and very much conscious, on the other hand, a strong component of play, which is accidental and fallible, underlines the limits of pictorial representation, at the same time. The support’s limitations are usually the interesting places from which I start working.
During the last year I have been recording the passing of time. In my work I try to capture the traces of time by the marks that it leaves. I am not so much conducting but recording a process. My choice of methods and materials are both rational and conscious.
In this moment I am experimenting with materials such as fabric, cotton, wooden panels and paper. I take advantage of natural and accidental events such as the weather, decay and deposits of earth, each with their own characteristics.
I am interested in the deterioration process of objects. The final work is determined more often by chance then by my own hand. I begin by experimenting with the durability of materials such as the canvas of a painting and end with theoretical questions such as “how long is an art piece supposed to last in its physicality?”
I try to avoid any kind of routine and prefer random and uncontrollable events or accidents. I try not to begin from a starting point that I already know. I am only one element, no more important then the materials I use. I dont place great importance on myself as creator. The final work is merely a result of a process, I have no preconceived ideas or intentions. It is the process that dictates the outcome.
My work could be created from a drawing, inspired from a walk through a snow track or simply from a detail of something I've seen during the day. I am heavily influenced by forms within nature, for me there is enough inspiration in my daily environment to sustain my work and research.