To depict scenes of psychological tension, I combine figurative and non-figurative elements in my paintings. I often portray the tension that arises from interactions or lack of interactions between groups of people in different settings. I want my artwork to bridge the gap between public and private spheres, connecting political events and personal experiences. Lately, I’ve been exploring dystopian themes that reflect the current state of the world.
I begin each painting as a separate project with a digital sketch based on photographs, 3D models, or other sketches. While building up the painting layer by layer, I use intuition and the previously painted layers to make new decisions. Since my paintings take a long time to create, they often change direction several times during their creation. The influence of my life outside the studio can also affect how the painting changes form.
I use painting as a platform to test and develop ideas, exploring the relationship between thought, language, and reality. Through this, I examine the connections and gaps between appearance and reality. I allow the viewer to make their own interpretations and do not force an opinion.
Meetings and encounters intrigue me. And I think about what might happen when someone views my paintings or when two people meet. I create paintings that let disparate elements meet on the canvas to keep the eye moving. Additionally, I take interest in how individual emotions and actions, especially fear, can impact public, political, global, and collective events. Also, I wonder how fear affects voting behaviour over time.
In conclusion, I see myself as a quasi-psychoanalyst who is trying to understand contemporary life. While doing this I process mental images that refer to, but are delimited from, physical reality and language.