The brushstroke — in its various manifestations — is the singular tool of communication that is encountered in paintings and drawings throughout all epochs. At the core of the primordial personal and artistic practice that has led to the creation of these works is a preoccupation with the study and exploration of the act of creating a painting, from the perspective of this most essential act — the process of making of a line — as opposed to the study of the painting itself — the artistic object.
Printmaking, drawing, painting, photography, generated data and robotic technologies are tools used in my artistic practice to explore, retain and express visual information in relation to the digital and machine-based world we live in today.
The works presented here explore the different ways the body and mind perceive not only the visual objects themselves (such as painting), but also the process through which they are created — what is seen as a whole (form) and what is felt as energy (vector).
During the working process, passive materials react to the active manipulation of materials upon them; both the passive and active elements are equally and reciprocally important to the process as well as to the finished work. Using and mixing different media in one work creates a rich context in which the tension between marks that are made with body gestures and those made with different degrees of technological intervention can be explored.
An individual work may consist of, for example, human and robotic brushstrokes, prints, photopolymer of digital painting and photographs on unmounted canvas.
Stimulated by the experience and by the exchange between informatics and the robotic world, I found myself compelled to challenge and reconceptualize the foundations of the painterly practice, starting with the bodily movement of the single brushstroke all the way to questions concerning control and loss of control in the creative process.