I have always been attracted to paintings which are open-ended, have doubt and imperfection, are unfinished and barely defined. This gives the viewer a greater participation in the creative act. Trained as an architect, I feel predisposed to certain structural organizations and affinities.
It started with the basic idea of making marks on a surface. I follow the path between order and chaos. Paintings are done on the floor. They move around a lot to generate new combinations and relationships. The paintings are always seen in the context of others. There is a sense of collage with the elements that constitute the tentative boundaries which have been established. The work has a formless tactile quality. Torn newsprints to digital prints are combined to form a hybrid expression.
When a fusion exists between all these elements of tension in a balanced and uniform way, form occurs. The harmonious synthesis of form brings together the rational and intuitive aspects of the human condition – the paintings are not about ideas but thoughts.