There is a real freedom in being a painter today. In this contemporary climate of Pluralism I can simply paint and experience what I like and make work I want to live with. Today there is no pressure to create a brilliant new movement.
My work is about experience and play, emotions and abstractions. I place different elements together on canvas or paper to examine relationships. Disparate imagery meets and mingles. Interrelationships between forms are more important than their individual symbolic identity. Figures are located as if they are actually aware of each other and the limits of the painting's borders. Some elements are placed close together others stay far apart. None of the forms overlap; they coexist with each other. I pay considerable attention to the spaces between. Each element is carefully located much like the elements of Japanese Kyoto gardens - with their ponds, stepping stones, raked white sand, sand mounts, and uncultivated nature as a kind of backdrop.
The forms I paint have their own identity and physical reality. In my works one form announces the next, each tells the other one how to react. The figures I paint are flat. Perspectives are created only by colors, sizes and placement of the forms; the logic of perspective is not taking in consideration. Forms and colors seem to be pushed back and forth randomly. Shapes exist next to each other equally without being burdened by any kind of hierarchy.
The exploration of color plays an important role in my work. My pallet exists of any possible color and color combination. I am interested in how a color vibrates, lights up, or loses depth with the help of another one. Colors are interacting and seem to change with adjacent ones, melting together when they meet creating new subtle hues. I am interested in moments when two beautiful hues next to each other seem to turn into something quite appalling and the next minute back into something beautiful. Beauty and ugliness interest me equally; one can't exist without the other. The boundaries arenít clear. What seems ugly today can be beautiful tomorrow and the other way around.
Sigmar Polke's title of his work: "Higher Powers Command: Paint the Upper Right Corner Black!" is a statement I can relate to. The mix of knowledge, experience and letting things happen intuitively, keep my interest alive in my work. This is how I discover something I don't know. I search for a certain moment, where the familiar becomes a little uncanny or uncomfortable. This can be achieved in many different ways - color, form, placement or physicality.