Statement

Artist Statement

The idea that things are not as they seem and that behind all revealed tangible forms lies something that is solely rendered by the association and unique order of a limited number of elements really appeals to me. The idea too that linear time is a human construct and that in the spacetime dimension, past and future can theoretically be visited in the present is also very attractive. Reality becomes something a lot more fluid and encompassing, where position and relation in space and time are the building blocks of creation. In my art practice, this has led me to favour process (how it is built) over outcome (what it is). As such, I do not see the outcome of my work as a final product but rather as the expression of my ongoing exploration of material in space and time. as a mean of exploring creation.

The outcome, the form, is mostly characterised by lightness and transparency and will always hold temporal characteristics. It may translate into an abstract system or geometric representation, sometimes architectural, sometimes more organic but always open to interpretation.

I look for the properties (in materials) that will enable me to manipulate/subvert their appearance to draw the viewer’s attention and engage them in the process of looking and questioning. Delaying recognition of the material by applying transformation (distortion and concealment) is an important part of my work, as well as making the material serve functions it was not designed for and/or seeking unexpected or precarious associations with other materials.

They can equally be displayed on walls and plinths or suspended from the ceiling. The scale of the work is variable. However, in an attempt to draw the viewer close to the work, I favour clusters of small elements, rather than large scale items. This approach also applies to my drawings, which I often display in a grid form, introducing seemingly empty spaces in between elements.

Tertiary Chromatic Study is a monochrome work, executed in white ink, a reference to light. It investigates an alternative perception of colours, where each primary colour is associated with a basic geometric shape. Following the set instructions, any given colour (i.e., secondary, tertiary, etc…) can be extrapolated to a singular sequence which can subsequently be identified in colour terms.

The importance of the grid in my drawings: I see the grid as the omnipresent matrix that holds the potential of future making. After a drawing is completed, the grid is discarded. Yet, the work follows its footprint and, as such, forever holds its essence. The two layers (grid and work) encapsulate past and future in a fluid now, depending on which layer the viewer is observing from. On a more literal level, the repeated patterns, emerging from the grid, take up a predictable amount of time in the making: The ink on the surface of the paper becomes a transcript of duration where space and time are intimately interwoven.

The grid has always been an important tool in my work. In astronomy, it is used to illustrate the fabric of spacetime, which either expands or contracts in the presence of matter. In Albert Einstein’s theory of relativity, time is woven together with the three dimensions of space, forming a bendy, four-dimensional spacetime continuum, a “block universe” encompassing the entire past, present, and future. As a result, each slice of the block refer to different spacetime coordinates that can be accessed in the present. The weaving aspect also becomes an important consideration.

The drawings are mostly abstract compositions akin to non-verbal reasoning puzzles. They invite the viewer into decrypting an algorithm.

The importance of shadows in my 3-dimensional forms: My assemblages are mostly characterised by physical lightness and transparency. They invite the viewer to examine the form by allowing them to peer through the space to investigate material and process as well as the projected shadows on adjacent surfaces. The shadows move with the time of day or with the direction of the spotlight in space. A space that not only carries the air we are breathing in this instant but also the light of our sun that took 8 minutes to reach us as well as the starlight that may be millions of years old. Shadows are evidence of temporal and spatial dimensions.

Both past and present are part of these hollow forms where space is neither negative nor positive. Following the basic aesthetics of the line, the material may even suggest non-sensical three-dimensional scribbles. There is however a consistent rigorous pursuit for visual balance between space and matter, as well as a search for parity of importance between materials which allow the form to exist. This is based on my scientific belief that there is a fundamental order of things, which allows our world to be.