About

Artist Statement

My visual art work comprises painting and sculptural installation.

In my paintings on both small and big canvases oil is the main material, but I also use, to a far lesser extent, markers, pencils, pens, mostly to enhance the drawing and tonal value of details. My sculptural installations, both small- and big-scale, are made of wooden laths and plywood, painted with acrylic colors, complemented by the addition of other materials such as metal, intensely colored cloths, various (ready-made) objects and frames. They constitute an extension and projection of my paintings in the three-dimensional real space.

I normally begin by focusing on the drawing, a solid drawing which acts as a scaffolding. The color follows, while I aim to establish a harmonic dialogue between painted and unpainted parts. By using bright solid color surfaces placed in a relation of chromatic contrast, I try to balance them with surfaces of dynamic gestural strokes, because what interests me is not so much the apparent conflict but the suggestion of an inner co-existence and equilibrium.

The common denominator for the technique used throughout my work is abstraction: geometric (geometric drawing and solid color) and lyrical abstraction (gestural, dynamic strokes).

The main advantage abstraction provides to my work is that it enables a dialogue between the visible and the invisible, i.e. it gives form to something which is formless, to an invisible world of notions. Through this process, the image of a world emerges, featuring pairs of contradictory ideas, among which that of order vs. disorder prevails. To this result I was led instinctively through the geometric drawing and the solid color surface on the one hand, and the chromatic surface of gestural stroke on the other. That is to say, through logic on the one hand and the psychosomatic interactions on the other; intellect and emotion; the objective and the subjective. At this point, I met Kandinsky who thought of the work of art as an intersection of objectivity and subjectivity.

Thus I was led to a combination of various forms, of drawing and of colors, and managed to free myself from the strict, institutional logical order, and follow a more chaotic logic with its own seemingly incomprehensible rules and not the ones of the known Euclidian geometry. Consequently, every time I finished a work, although I could not describe in detail what was happening in front of me and in me, I nevertheless felt deeply that this event, this work “was there”, it existed, while at the same time there is always a hint of doubt and insecurity, which I personally regard as the core of the driving force that urges me to carry on…!