My work arises from a visual idea that combines the processing of materials and creating a form. The form of the painting is an important part of its creation and design process. In my works, I utilize fragments, holes, crevices and shapes that challenge the traditional rectangular painting base.
Time is layered in my paintings, with overlapping past and future. On one hand, I work facing forward; on the other hand, I scrape out elements – things from the past – hidden under layers of paint. I often find something already forgotten that takes on new meanings in a later context.
As I work, the topic gradually deepens, the colour scheme evolves, and the different forms of the base challenge me to create something new.
A painting is a story made up of layers, lines, and scrapings. For me, painting bases are layers of thoughts and events.
As I work, I let the process guide me forward. The time I spend working on each of my works is long: several months.
For me, the painting base is a three-dimensional object – a sculpture. In addition to visual perception, I use my sense of touch in the realization of my paintings.
I sometimes process the bases briskly. I use paint to build a mass on the surface of the work and process it by sanding, scraping and dissolving, revealing layers of colour beneath. The essence, mass and form of the colour are in dialogue with each other. In my newer paintings, I use stencils and create graphic patterns with sharp outlines.
From start to finish, I craft the painting base manually from pressing the base plate, cutting the shape of the base, gluing and priming the fabric.
I allow the place and space to influence the painting process. I collect influences from the environment and, at the same time, work on the dynamics and movement of colours and shapes within the painting.
I pick up details from the environment that give an indication of the place of the work.
Moving between different spaces is an important part of
my work process. I observe the city and the changes in nature and seasons.