A fragmented world
Abstraction is the founding principle upon which my production starts its journey. It is a special ingredient which speaks directly to the body. As an abstraction of the soul, art is a singular expression of the human condition. This point of view stirs my interest and makes the core of my being vibrate. I am convinced that all figurative art must also possess this magic and that abstraction can also be ordained by figurative signs, connotations and overlapping meanings so that, in their own particular way, the completed artwork can appropriately reflect the spectrum of human experience. In this sense, my work has inherited its conceptual directives and principles from Neo-Expressionism 1.
In essence, X Marx the Spot (left), reflects my search for the self within the body. It sketches a rudimentary roadmap. I drew an old fashion speaker on the left of the painting as a way into the core of the subject. Its a way in, symbolizing perception leading to thought and to consciousness. A giant "X" appears in the middle of the work where the treasure of being might be found. On top of this goal rests the head, the guiding spirit. Some ladders are displayed within the work, as in the board game Serpents and Ladders, meaning that there are no certainties and that the main preoccupation of the painting lies within the following questions : where and what is this spot? How do we get to it?... I do feel the need to scratch there, intelectually.
I borrowed the form of the classic game Tic-Tac-Toe in order to express, by the use of vertical and horizontal lines, the idea that awareness must be housed inside a sructure which, as a necessary receptacle, would symbolise our own body and, by extension, our own prison. Could sentience be artificially created by a specific configuration of particles? Here lies the intriguing absence of certainty regarding the origins of consciousness and the articulation of our will. These enquiries take, from time to time, a special place in my artistic output.
In Caught within a Cat's Purpose (right), objects are being taken over by a cat. A room vibrates with energy as someone, lying on the floor, slowly disapears. At the top of the painting twirls a spining top which is placed in a prominent position, much like the sun and moon in our traditional landscape paintings, hovering like a god over the earth's capharnaüm. This uneasy game is characterised by its absence of rules as if a mere pet had struck the world into chaos.
The overall state of the work and, by extension, of our universe, is thus the result of an animal's violent and un-premeditated action from which our own desire for self-control struggles for survival. The animal here is the embodiment of happenstance, chaos being the mother of all Creation.
In brief, the painting stages a dream in which Freud's famous Id 2 manifests itself as the real protagonist.
My conception of visual art corresponds to what I understand of poetry; it is a tool to create images using overlaping concepts. Likewise in painting, I love drawing lines to produce an interference of meaning or some purposeful ambiguity. This is my poetic process. To put in proximity what is usually distant and to align an unexpected sequence may produce profound pleasure. Far from avoiding making sense, this process can generate a multiplicity of meaning, the relevance of which far surpasses any purpose that the artist may have had at the start.