My practice is concerned with the nature of painterly image in relation to material processes, distribution and value assessment of image production, underlined by different cultures and traditions of painting.
At the very base of my practice lies collage as a methodology and a fragmented system of representations and actions that are in continual flux, destabilized and made anew through different decisions and departures.
These departures are sometimes marked by geometries or motifs and patterns, other times by hollowed out marks and gestures that are left behind by torn out masking tape or stencils, acting like shadows or ghosts of the forms that never quite made the final edit.
This very basic, almost de-material approach to tools and techniques is a deliberate decision on my part to underline values, connections and engagements between the final image and the processes of making. For me painting and drawing is always about the image and its transience – what is questioning is its source, its intensity, position in social and political terms and its communication that varies through material productions and presentations.