“If I had a world of my own, everything would be nonsense. Nothing would be what it is, because everything would be what it isn’t. And contrary wise, what is, it wouldn’t be. And what it wouldn’t be, it would. You see?” – Alice In Wonderland
My work investigates micro and macro patterns in our environment, with a particular interest in natural and synthetic structures. I looked at various scales of repetition revealed in studies ranging from cellular biology to cosmology. The lungs and the muscle system, as well as our surroundings like cloths, the cracks on walls, and the serendipitous formation of leaves. The semiotics I developed in the process is an abstraction of these organic structures and fabricated patterns.
While looking closely at the fluidity of all these forms, I became interested in its implications, more specifically the general adaptable character of the environment and the manner in which it responds to self-instigated and manmade change. Not only do we form the world around us, we also hold the ability to rebuild it and to destroy it. My art emphasizes the pressing need for us humans to be aware of our surroundings and be more appreciative of them. All my works commence with an approach that is similar to Surrealist automatic drawing. I rely on spontaneity to create accidents and the unconscious to create a starting point for my marks.
In my work there is life and a physical presence that arises from the combination of textures and ceramic objects that expand across the picture plane. The mix of different proportions in fractals and textures as well as motifs that very in color and dimension reveals the subliminal. My work addresses numerous approaches that are close to the style of and inspired by “micro-artists” – who draw obsessive structures in small proportions like Daniel Zeller, and Jacob El Hanani. Also, Elizabeth Murray who creates irregular shaped paintings, and Sandra Cinto who plays with the idea of narrative through mythical landscapes are continuous points of inspiration for my work.