Statement

Artist Statement

My main interest lies in the understanding of our world beyond our immediate perception. The idea that things are not as they seem and that behind all revealed tangible forms lies something entirely different 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 space and time are integral to it. It has led me to examine objects and concepts more closely and to also adopt a more holistic approach to my explorations and consider spatial and temporal dimensions.

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.

In my work, I seek to delay recognition in the attempt to draw the viewer’s attention and engage them in the process of looking. This is what we do when we don’t recognise something. We scrutinise it to make sense of it. It is as much a meditative pursuit to remind myself how filtered and limited our immediate perception is. I do not seek answers, but feel closer to the truth when raising questions and exploring. The mediums I use are not fixed but respond to the idea that I seek to explore. Embracing the ludic, sometimes the absurd, my processes mostly follow a set of instructions established before the work begins, on the understanding that everything in our world is generated by pre-determined rules – e.g. rules of a game, law of physics, DNA coding. These instructions may also define other parameters and inform my choice of materials.

My drawings often suggest abstract compositions. They may be reminiscent of non-verbal reasoning puzzles and are never readily comprehensible. They prompt the viewer to engage in analytical reasoning, leading to the understanding of the idea studied in the work.

I often use a grid in my drawings. I see it as the omnipresent matrix that holds the potential of future making. After a drawing is completed, I erase the grid which becomes an element of the past. Yet, the work follows its footprint and, as such, forever holds its essence in the present. 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.

More recently, my art practice has essentially been defined by three dimensional assemblages. These are mostly characterised by physical lightness and transparency. The viewer is encouraged to peer through to examine the form and material, which I mostly select for its ductility so it can wrap around space. There is no negative or positive space in these hollow forms, nor is there a defined inside or outside. Following the basic aesthetics of the line, the material may even suggest non-sensical three-dimensional scribbles. There is however a consistent rigorous pursuit of visual balance between space and matter, as well as a search for parity between material functionality within the form. Nothing is superfluous.

I look to further perplexity by concealing and distorting the material or making it serve functions it was not designed for. The laborious simulations aim to juxtapose semblance and reality. The viewer is also able to see the projected shadows of the form. They appear like live soft brushes on the wall. They move with the time of day or with the direction of the spot light, as evidence of temporal and spatial dimensions.

These assemblages are 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.

I do not see the outcome of my processes as a final product but rather as the expression of my exploration. The created form may translate into unpredictable ethereal abstract systems or geometric representations, sometimes architectural, sometimes more organic but always open to interpretation.

Additional info:

Spacetime on a Beachball

The grid has always been an important tool in my work. In astronomy, the grid is commonly 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.

Shadows are another important consideration in my work. Shadows are the sign of light and from the sunlight that takes eight minutes to reach us, to the starlight that expired thousands of years ago, the light we see is always related to events that have already happened. The space of our present holds the light of the past. On a cosmic scale, this past can reach very far back. The notion of time exists through human consciousness giving it a beginning, a during and an end. Space contains all of it through light, in a present that keeps moving forward. Matter absorbs or reflects light, leaving traces of its absence, through shadows. As shadows are the sign of light, space and time…