(Learning) the Grammar of the Act / Tactile
Studying the relation between organic and machine-based systems; creating structures from physical actions (operation) and the mind (perception).
Stimulated by the experience and by the exchange between informatics and the robotic world, I found myself compelled to challenge and reconceptualise 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.
The brushstroke — in its various manifestations — is the singular tool of communication that is encountered in paintings and drawings throughout all epochs, even as far back as prehistoric times. My primordial personal and artistic interest is to delve deeper into 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. It was my studies of Japanese calligraphy under Kazou Ishii in that provided the initial impetus for reflections on the energy that can be captured in the brushstroke, and since 2013 I have created a large body of print and mixed-media works that are variations on corals, trees and cacti (Sabra) that have explored this idea.