Siebenschläfer - detail

Acrylic and mixed media on corrugated cardboard, 24x40” (d) / table 71x41x31”, 2023

Siebenschläfer reflects on the chthonic concept of hiding, sheltering, and waiting. The half body cast is integrated in a cave like landscape formation that allows both views the upper and under world. The figure is painted in Magenta red and set up on a table in green and Magenta warning  stripes, a color combination referring to radiation hazards as well safety and first aid.

The sculptural installation is inspired by the story of the Seven Sleepers of Ephesus waiting 300 hundred years in darkness, within rock until it is safe to emerge. Those stories not only reference to histories of persecution, displacement, and escape.

Those stories keep larger narratives of present and future concerns; about nuclear fear and encounter uncanny confrontation of realities. It deals with perspectives of forgetting as planned for the nuclear waste site of Olkiluotu in Finnland, or with future warnings with respect to the Waste Isolation Pilot Plant (WIPP) 26 miles southeast of Carlsbad, New Mexico. WIPP permanently isolates defense-generated transuranic (TRU) waste 2,150 feet underground in an ancient salt formation.

Siebenschläfer

Acrylic and mixed media on corrugated cardboard, 24x40” / table 71x41x31”, 2023

Siebenschläfer reflects on the chthonic concept of hiding, sheltering, and waiting. The half body cast is integrated in a cave like landscape formation that allows both views the upper and under world. The figure is painted in Magenta red and set up on a table in green and Magenta warning  stripes, a color combination referring to radiation hazards as well safety and first aid.

The sculptural installation is inspired by the story of the Seven Sleepers of Ephesus waiting 300 hundred years in darkness, within rock until it is safe to emerge. Those stories not only reference to histories of persecution, displacement, and escape.

Those stories keep larger narratives of present and future concerns; about nuclear fear and encounter uncanny confrontation of realities. It deals with perspectives of forgetting as planned for the nuclear waste site of Olkiluotu in Finnland, or with future warnings with respect to the Waste Isolation Pilot Plant (WIPP) 26 miles southeast of Carlsbad, New Mexico. WIPP permanently isolates defense-generated transuranic (TRU) waste 2,150 feet underground in an ancient salt formation.

Mnemosyne

Acrylic, graphite powder, and mixed media on corrugated cardboard, 34x44’ (d)/ wood bord b/w 48x 48”, 2023

Over time and histories bodies transformed into mythical figures embedded in mythical landscape of “Mnemosyne”, the Titan of memory and mother of the Nine Muses, that give art a voice. The hollow sculpture is kept minimal and discreet, just painted in black and dusted with graphite pigments set on a hazardous zone area marked in black and white. The simplicity of the setting referrers to the infinity of universal knowledge in the hollow space while memory (Mnemosyne) seems at risk with ephemeral matter of powder coated shiny surfaces in a hazardous environment.   

My new sculptures animated through performative bodywork recall those myths as updated versions of our current volatile and precarious conditions on Earth.

Mnemosyne

Acrylic, graphite powder, and mixed media on corrugated cardboard, 34x44’ (d)/ wood bord b/w 48x 48”, 2023

Over time and histories bodies transformed into mythical figures embedded in mythical landscape of “Mnemosyne”, the Titan of memory and mother of the Nine Muses, that give art a voice. The hollow sculpture is kept minimal and discreet, just painted in black and dusted with graphite pigments set on a hazardous zone area marked in black and white. The simplicity of the setting referrers to the infinity of universal knowledge in the hollow space while memory (Mnemosyne) seems at risk with ephemeral matter of powder coated shiny surfaces in a hazardous environment.   

My new sculptures animated through performative bodywork recall those myths as updated versions of our current volatile and precarious conditions on Earth.

Phlegethon - detail

Acrylic and mixed media on corrugated cardboard, 32x37 (d) / table 26,5x44” (d), 2023

Literally a "river of fire" (Aen. 6.550-1). In Greek mythology, Phlegethon was one of the five rivers in the infernal regions of the underworld, along with the rivers Styx, Lethe, Cocytus, and Acheron.  

Plato describes it as "a stream of fire, which coils round the earth and flows into the depths of Tartarus". The river is so hot that it's cold to the touch. It is said to appear like a torrent of burning gasoline that lights up everything red.

I seek to identify common undercurrents in the geo-terrestrial and political developments. Color, shape, and charcoal chips composition refer to the fiery appearance of the sculpture carried out by the human body. The sculpture is positioned on a cross shaped table with diagonally oriented black and red caution stripes usually referring to crime scenes. As caution tapes, the markers are used to mark off areas where a crime or accident has occurred and to warn people to stay away.

This way the human-made landscape is elevated on a marked zone as a significant endangered area. The cloudlike sculptural formation veil and hide, spreads fear and danger that man must have from himself- an aesthetic visualization becomes self-encountering.

Phlegethon

Acrylic and mixed media on corrugated cardboard, 32x37 (d) / table 26,5x44” (d), 2023

Literally a "river of fire" (Aen. 6.550-1) In Greek mythology, Phlegethon was one of the five rivers in the infernal regions of the underworld, along with the rivers Styx, Lethe, Cocytus, and Acheron.  

Plato describes it as "a stream of fire, which coils round the earth and flows into the depths of Tartarus". The river is so hot that it's cold to the touch. It is said to appear like a torrent of burning gasoline that lights up everything red.

I seek to identify common undercurrents in the geo-terrestrial and political developments. Color, shape, and charcoal chips composition refer to the fiery appearance of the sculpture carried out by the human body. The sculpture is positioned on a cross shaped table with diagonally oriented black and red caution stripes usually referring to crime scenes. As caution tapes, the markers are used to mark off areas where a crime or accident has occurred and to warn people to stay away.

This way the human-made landscape is elevated on a marked zone as a significant endangered area. The cloud-like sculptural formation veil and hide, spreads fear and danger that man must have from himself - an aesthetic visualization becomes self-encountering.

Starless Rivers, Acrylic and mixed-media on corrugated cardboard, wooden boards, 84 x 44 x 30 inches, 2023

Inspired by Robert Macfarlane deep time journey of “Underland” (2019) ancient starless rivers flow from the upper world into the under land. “The reason that classical literature runs with rivers dipping into darkness is geological: so much of the landscape in which that literature was lived and written is karstic in nature.” However, it also  borrows histories that flow from conflict zones of Roman’s antiquity Mithraism towards the economic underworld, the basement in London’s Bloomberg building, crossing European war zones into the 20th century.

“Rivers disappear and so do stories, only to rise again in unexpected ways.”

Robert Macfarlane

Starless Rivers, Acrylic and mixed-media on corrugated cardboard, wooden boards, 84 x 44 x 30 inches, 2023

Inspired by Robert Macfarlane deep time journey of “Underland” (2019) ancient starless rivers flow from the upper world into the under land. “The reason that classical literature runs with rivers dipping into darkness is geological: so much of the landscape in which that literature was lived and written is karstic in nature.” However, it also  borrows histories that flow from conflict zones of Roman’s antiquity Mithraism towards the economic underworld, the basement in London’s Bloomberg building, crossing European war zones into the 20th century.

“Rivers disappear and so do stories, only to rise again in unexpected ways.”

Robert Macfarlane

Starless Rivers, Acrylic and mixed-media on corrugated cardboard, wooden boards, 84 x 44 x 30 inches, 2023

Inspired by Robert Macfarlane deep time journey of “Underland” (2019) ancient starless rivers flow from the upper world into the under land. “The reason that classical literature runs with rivers dipping into darkness is geological: so much of the landscape in which that literature was lived and written is karstic in nature.” However, it also  borrows histories that flow from conflict zones of Roman’s antiquity Mithraism towards the economic underworld, the basement in London’s Bloomberg building, crossing European war zones into the 20th century.

“Rivers disappear and so do stories, only to rise again in unexpected ways.”

Robert Macfarlane

In the development of new sculptures I collaborate with Cynthia Word of Word Dance Theater through experimental performative explorations with corrugated cardboard.  The performance activates the sculptural form in the most subjective way by shaping an object from the inside out. There’s no difference between object and subject, or object and maker.

The body and movements give the sculpture transformative and final shapes. Using corrugated cardboard serves a sturdy cover that once left behind leaves an empty shell of memory from previous actions.

Scattered scraps falling apart and disintegration of the material in consequence of the performance reflect on the temporalities relating to the disappearance of our surroundings. Working with landscape images, I try to eliminate the old and creating new ones. The cliché of passed down landscape scenery and images include an overcome concept of nature that carries the notion of the beautiful view and nature as something elevated or to protect. At the same time, we observe overwhelming evidence of the destruction of nature, a dying world of multi-species, and atmospheric imbalances effecting our biosphere.

The collaboration between dance and the visual art promotes hybrid prefigurations to understand precarious condition between human and nature, between intervention and their consequences. It is important now and for the future to understand landscapes in a new way, to see them differently, not just from what we know. I reflect on man as a producer and destroyer of land as a contemporary landscape, as something that speaks for our current time and the future. What is left are traces of memory, fragmented, and fragile in their existence.

Hazardous II, 2021

Found broken tiles, caution barrier tape, acrylic on corrugated cardboard in wooden shadowbox, ca. 64x40"

Hazardous I, 2021

Physical hazard caution barrier tape, acrylic on corrugated cardboard in wooden shadowbox, ca. 64x40"

I Remember your Touch, 2021

Found cardboard box, unfolded and rearranged, acrylic on corrugated cardboard in wooden shadowbox, ca. 64x40"

The Apparition of Euridice, 2022

Mixed media, pulp from scratch, inkt, acrylic on corrugated cardboard in wooden shadowbox, ca. 64x40"

The Farewell, 2023

Mixed media, acrylic on corrugated cardboard in wooden shadowbox, ca. 64x40"   

Kinship, 2023

Acrylic, charcoal, ink, graphite powder on corrugated cardboard in wooden shadowboxes, ca. 64x40”

Trophy, 2023

Acrylic, charcoal, ink, graphite powder on corrugated cardboard in wooden shadowboxes, ca. 64x40”

In Memory (l), Mnemosyne (r), 2021

Each created with charcoal, ink, graphite powder on corrugated cardboard, ca. 64x40”,

Autochthon, 2018

Installation view of three works, Acrylic on corrugated cardboard, various sizes,

Acrylic and mixed media (coal chips, charcoal, marble paste) on corrugated cardboard, 36x12x80”

Acrylic on multilayered corrugated cardboard, 30x10x40", 2018

Series of Authochthon, Acrylic on corrugated cardboard, 95x12x”100”, 2018-2019

Series of Authochthon, Acrylic on corrugated cardboard, 100x5x”120”, 2018

Series of Autochthon, Acrylic on multilayered corrugated cardboard, 36x90x12“, 2018

Persephone’s Lament, 2018

Acrylic and mixed media, female nightgowns, fabrics and linen, marble powder, honeycomb on corrugated cardboard, 95x100”

“Persephone” is an installation that embodies the mythological and ecological duality of Persephone, the goddess who bridges the realms of the underworld and spring’s renewal. The bold striped tectonic structures in the piece contrast with the organic forms created through the layering and manipulation of materials like coal and recycled cardboard, symbolizing the tension between human intervention and nature’s resilience. The composition reflects Persephone's mythological story, representing her role as both a chthonic deity and a figure of rebirth. Her enwrapped form evokes the liminal states of transformation, both geological and personal, as she transitions between realms. This interplay of materials mirrors humanity’s exploitation of the Earth’s strata—cutting, tearing, and extracting—while also hinting at reconstruction and hope. Through a visceral layering process, the sculpture invites viewers to consider their own relationship to the cycles of nature, death, and regeneration.

A parable about the Philoxenia, a deeply rooted hospitality for foreigners  and the rise of Xenophobia

Even the earliest literary testimonies of Greco-Roman antiquity reflect fleeing fates. The fact that refugees today, when they have finally arrived somewhere, speak of an "odyssey" that they had to go through points to one of the oldest texts. Homer's Odyssey reflects on the culture of hospitality and welcoming foreigners. In continuation, in Greece and in Rome there was already the institution of asylum coupled with a hospitable openness to strangers. My painting is an updated version about Odysseus as an traveller who is lost and encounters how tabus of hospitality have been broken, when he stranded at the island of the Cyclops. Instead, Philoxenia is deeply rooted in Greek culture as we have evidence of the Homeric epics that provide various ideal exemplary patterns as well as counter-images of ethical norms. Such a counter-image is revealed in the story of Polyphemus. On his wanderings Odysseus gets again and again in critical situations. As a stranger he is exposed to the goodwill of the hosts. The story of Polyphemus’ encounter with Odysseus, which is also at the center of the adventure, makes this particularly clear. Hospitality in ancient understanding did not need a name immediately. The first steps took place in a cultured sphere of anonymity, a phenomenon not only witnessed to the Greek world. The Celts behaved the same way. The Old Testament also provides examples of the Arab world.

Universal Travelers, 2018

Acrylic and mixed media, marble powder, shellac, crackle paint on corrugated cardboard, 95x100”

My Painting relates to our current turbulent landscapes shaped by human activity and questionable political decisions of erratic nature. With “Erratic Landscapes” I address geo-economic and -political issues within the entanglement of deep time investigations, ancient myths, or anthropogenic intersections between time, the use of land, and global settings. "Universal Travelers" generate erratic imaginaries that create a pattern language of the long history of nomadism, migration and today’s discussions and issues upon immigration. Through my research into diverse aspects of the Anthropocene, evident landscapes are transformed into metaphors of how we use, take, claim and demand land without respecting human passages, travel and free movement as a human right. "Erratic", a metaphors as an utopian vision will challenge the idea of no borders at all, questioning the necessity of confinement in a world of global citizens, and engaging a discussion about the idea of global freedom of movement as a human right.

Acrylic and mixed media, marble powder on corrugated cardboard, 95x100”

"Erratic without Border" from the series of "Erratic Landscapes" generates erratic imaginaries that create a pattern language of the long history of nomadism, migration and today’s discussions and issues upon immigration. Through my research into diverse aspects of the Anthropocene, evident landscapes are transformed into metaphors of how we use, take, claim and demand land without respecting human passages, travel and free movement as a human right. Saying that I also address geo-economic issues and unsettling political measures regarding colonialism, nationalism, the use of land, ownership, and global settings. 

I understand an “erratic” as our “oldest Immigrants” that form a movement between material and metaphor into meaning issuing geopolitical issues deriving from deep time, history towards concerns of migration and immigration, loss of home and the search for a safe harbor in the world. Used as evidence to the geologic history of a place or its place of origin, “Oldest Immigrant” reveals history and narrative as a natural and cultural landmark that changes over time and cultural perception. The erratic as '"Oldest Immigrant" is inspired by the stories it tells us about places of origin, current position, visual appearance or characteristics, an actual piece of rock that carries attributions or personalized characteristics of a living thing. 

In those moments when we as admirers, visitors, climbers or researchers connect with such an “individual thing”- an erratic - that traveled over passages and time, it tells us stories revealed through history or by people who dedicated their curiosity and scientific interest into deep geological time unfolding our present and future condition on Earth at this point. As boulders are scattered across vast landscapes left behind after many of them left behind after the Ice Age the land is characterized and formed as a result of massive environmental changes. Doreen Massey[i] refers to a campaign issuing immigration rights in Hamburg, Germany, where a largely accepted boulder is claimed as “our oldest immigrant,” after its glacial shift from modern day Sweden. Those campaigns question “the stability of the very land upon which their claims where made

[i] Massey, D. (2006). Landscape as a Provocation; Reflection on Moving Mountains (Journal of Material Culture 11).

[i] Hutton, J. (2013). Erratic Imaginaries Architecture in the Anthropocene. Open Humanity Press. p. 112

Dispelled, 2018

Mixed media (acrylic, sand, coffee, honeycomb, packing paper) on corrugated cardboard layers, carved and cut surface of cardboard, torn, peeled, revealed, reassembled revealing and shaping relief-like textures to enhance ‘boulders’ in the foreground in contrast with the mining pit in the back, 40x60”

Beside of themes of singular erratic formations or boulders, I explore motives related to waterfalls, glacial pavement, cracks, cliffs caused by translated force from bedrock formations into architecture. Thereby I form intersections of current geo-terrestrial issues on planet Earth. "Dispelled" describes in general conditions of landscapes with alleged stability caused by human activity through extortion and exhaustion of the land. In this context I make use of a metaphorical language that conveys aesthetic praxis while confronting the problematic world of impermanence and its means to an end as an ongoing consideration of interconnections between art, politics and the environment.

Eleusis, 2015

Acrylic, found boxes, mixed media on corrugated cardboard, 95" x 100"

"A city, as a thing that is made of or on geology. 

Idea of the city as a thing that makes geology. 

What do rocks say and bones tell us?"

(Excerpt from my sketchbook)

The Eleusinian Mysteries were initiations held every year for the cult of Demeter and Persephone in ancient Greece. These events were understood to be among the most important secret religious rites. Their basis was an ancient matriarchal agrarian cult, possibly dating to the Mycenean period. Motivated by the shocking destruction at Palmyra, I started to investigate cultural sites of my Greek heritage through research of historic maps, cartographies and historic images of ancient sites intertwined with collected memories from travels and excursions translated into my own artistic expressions of my large-scale paintings. More specifically I investigated those historic sites that are affected by conditions of industrialized sites or neglect.  Eleusis, about 18 kilometers northwest of Athens, is a major industrial center, with the largest oil refinery in Greece.

Mykene, 2016

Acrylic on multilayered corrugated cardboard boxes, unfolded and de-collaged, 95" x 100”

Mycenae is an archaeological site located between two hills on the Argolid plain of Peloponnese, Greece. Between 1600 and 1200 B.C. it was one of the greatest cities of the Mycenaean civilization that dominated the eastern Mediterranean world and played a vital role in the development of classical Greek culture. The decline of Mycenae occurred after repeated damage from natural disasters such as floods, fires or earthquakes. My painting, titled Mykene, evokes surrounding generations of urban settings that seem familiar and yet come from another time. My images point to the future and talk about changes in our land use. They represent the energy of human creativity and the architectural mastery of space while temporal in time.

Kaldera, 2015

Acrylic on corrugated cardboard, found boxes unfolded and re-assembled, 100" x 100”

My interest in cataclysmic events and the sudden disappearance of important ancient sites of my own and significant cultural heritage was the motivation for my exploration into the concept of Kaldera (or Caldera.) The island of Santorini is the site of one of the largest volcanic eruptions in recorded history: the Minoan eruption, which occurred some 3,600 years ago at the height of the Minoan civilization in the island of Crete. The eruption left a large caldera surrounded by volcanic ash deposits that was hundreds of meters deep and may have led to the collapse of the Minoan civilization on the island of Crete 68 miles to the south through a gigantic tsunami. Another popular theory holds that the Thera eruption was the source of the legend of Atlantis. Addressing the ongoing discussion regarding man-made disasters versus natural catastrophes, Kaldera connotes cataclysmic events in history (Hiroshima, WWI/II) and of today (9/11, Fukushima, or recent natural events such as hurricanes Sandy, Katrina, Harvey and Maria.)

My work reveals the entanglements of current geo-terrestrial issues on Earth. Erratic landscapes describe environments of alleged stability that appear precariously to come to an abrupt end or to be in a transitory state. I make use of a metaphorical language that conveys an ongoing consideration of interconnections between art, politics and the environment.  I aim to link narratives and myths that are carved out and arranged as the tapestry of the human condition at stake.  Art as a mediator helps us to understand ways to share our place on Earth in a more civic and empathic way.

Golden Spike, 2016

Acrylic on corrugated cardboard, layers of cardboard and packing paper, 100" x 100”

Herostratus, 2015

Acrylic on corrugated cardboard, 95" x100”

Herostratus — or Erostratus — was a 4th-century B.C. Greek arsonist, who sought notoriety by destroying the Temple of Artemis, one of the Seven Wonders of the Ancient World. Mapping an ancient site of great cultic and geo-economic importance of that time, the site of the temple was sacred since the Bronze Age, going deep into geological layers of the Anthropocene.  The Anthropocene refers to the Earth’s most recent geologic time period, defined as being human influenced or anthropogenic.  It is based on overwhelming global evidence that atmospheric, geologic, hydrologic, biospheric and other earth system processes have now been altered by humans. 

The title of the painting relates to the temple’s destruction in 356 B.C., by Herostratus who set fire to the wooden roof-beams, seeking fame at any cost. Inspired by current political conflicts in this painting I refer to his crime to point to a precarious political system spreading across the world like a fire.

Big Pit, 2017

Acrylic on multilayered corrugated cardboard, 90" x 100"

This painting derived from series of "Erratic Landscapes", an attempt to create a body of work that has the capacity to represent geologic formations at all times while simultaneously giving an idea of the world with its complex intersections between art, aesthetics, geopolitics, and environment.

How do we view our Umwelt (environment) within the entanglement of energy harnessing and exploitation, its agents of production that in consequence lead to mass destruction, manufactured landscapes, disappearance of physical natural space, and reduction of oxygen in conclusion with cataclysmic events as a result of inevitable transformations on Earth? To answer these questions I investigate deep time with its layers and formations trying to understand what we can learn from the past that we not have lived yet.

Aggregate, 2018

Acrylic, mixed media and concrete on corrugated cardboard, 90'  x 100"

Deranged, 2017

Painting, Acrylic, found rusty rail nails on corrugated cardboard

A Hole is Not a Hole, 2018

Acrylic, mixed medium charcoal powder on multilayered corrugated cardboard

Slide, 2015

Acrylic, found ripped boxes on corrugated cardboard, 100" x 110"

A New City, Acrylic on corrugated cardboard, 2014

Series of Nomansland, 95' x 100"

Similar to cataclysmic events in the past evolution and changes on Earth, but recently in a far shorter period of time of about 100 years, the human species has left a signature on Earth that marks the land in the way we have used it until today. The land shows the traces of colonization, urbanization, and migration that transformed and changed the human condition through developed exploitation of energy resources.

Humans stand at the threshold between a previous way of life and what their future outcome will become. I propose the idea of liminality through places of threshold such as arid climates, landscapes in transition, or in a state of neglect, devastation, or exploitation. Suggesting the idea of liminality in my work includes a pattern of language of sameness in landscapes referencing the work of philosopher Marc Augé who defined as places of threshold in urban places. Historical, political, and economically shaped environments are reflected in my works through commonplace settings that seem familiar and yet come from another time. The images are intended as witnesses from the future and talk about changes in our land use. They represent the energy and dynamics of human technocracy and the mastery of space, which also raises questions on how our will to shape the world will be directed.

With my work I demand hope and still possible change.

“The ends today are endless.” – Jean Luc Nancy

Pearls of the Sea, 2014

Acrylic on corrugated cardboard, folded and weathered for a year and unfolded, incorporated ragged tinted shirts, 100" x 100”

Ideas of liminality include “non-places,” as defined by Marc Augé, places of threshold and arid environments in transition that are revealed in the interaction between man and nature. Historical, political and economic shaped environments are reflected in my works through the generation of urban settings.

My travels to Marfa, TX and later to Abu Dhabi inspired impressions of the desert, plains and vast landscapes.  At the shore of the Persian Gulf I observed how fast a city grows in just one day. I learned that the wealth of Abu Dhabi originally derived from pearl fishing; this before oil digging became the new source of capital gain, setting off a completely new economic development on the shoulders of slave work and human extortion. The entanglement between history and geo-economic activities is mainly expressed by using tinted rags, the color of the cheap labor workers’ uniforms and weathered cardboard that I picked up as a base for the painting. 

Vapor, 2014

Series of No Man's Land, Acrylic on corrugated cardboard, 95" x 100”

My barren and deserted landscapes resemble places of exposure; it’s the place of surroundings and environs; or a hinterland. But it also includes ideas of a place of transition and purification; a journey for the soul. The series No Man’s Land suggests various directions within the concept of liminality. The painting Vapor indicates not just any a space but suggests a vast, cold, but also evaporating place on earth that generates its pure essence of its being with various geoeconomic, environmental, terrestrial and psychological notions.

Quarry, 2014

Series of No Man's Land, Acrylic on corrugated cardboard, ripped and rearranged, 85 x 20 x 100”

I examine the relationship between space and place, exploring urban environments empty of humanity and permeated with a sense of instability.

I paint cityscapes, forsaken places and ruined constructions on corrugated cardboard which I tear, batter and shape. Ragged cardboard sheet captures impressions of locales after storms, disasters or catastrophes. In accordance with three of similar works “Walls are Gone” created after the 2013 Rana Plaza garment factory collapse in Bangladesh. “Swept Away” in reaction to 2012’s Superstorm Sandy.  “Tower City” refers to the terrorist attacks of 9/11, "Quarry" refers to top mountain moving and the depletion of sacred land.  

My paintings represent aging, abandoned, crumbling surroundings through tears, cuts, shreds, revealing layers of corrugation, tattered textures, and dissolving surface conditions. Painted in a free manner, I still achieve a sure and exact rendition of details. At the same time I avoid a polished look of a painting, but prefer a rough and raw mode of spills and sketch-like gestures incorporating structure and textures. These techniques provide the basis for motifs of lost spaces, calling to mind a state of bleakness, neglect and instability in a dehumanized world. I paint and shape the work physically to create a relentless, nearly brutal face of what surrounds us.

With viewpoints from peripheries of urban life, I experience myself in a NO-MANS-LAND, exposed to feelings of alienation.