The whole of artistic activity can be described as an instance of self-regulation. Order in painting is traditionally achieved through the self-regulation of the painter and by external intervention. It is necessary to distinguish between — and balance — those characteristics relevant to the realm of individual artistic perception and that which is external to the artist’s motives, intentions, and preferences.
Painting, printmaking, drawing, 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. My work explores 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 (canvas, paper, wood surfaces, etc.) react to my 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 I explore the tension between marks that are made with body gestures and those made with different degrees of technological intervention. A work may consist of, for example, human and robotic brushstrokes, prints, photopolymer of digital painting and photographs on unmounted canvas.
Making art for me is the attempt to manifest one’s own intimate biography through materials into the public and social discourse. This is not only about the form or the finished object, but rather about the process, the perspective and perception of a structure — all of which is defined by our dynamic surroundings, and contemplated through the tools, mediums, and technology of the present time and local place.
Putting a mark of paint on a surface is an intuitive gesture that holds within it the intention of the work more than it represents the finished image. The finished work narrows down visual information to its essential gestures and primordial symbolism, exploring collective perception, producing and communicating classical and local iconographic characters encountered in the visual and literary domain.