(Detail)
Untitled (Garden), 2023
Acrylic on Canvas200x300 cm | 79x118 inches
More Detail View:
Untitled (Jester), 2023
Acrylic on Canvas130x140 cm | 51x55 inches
Untitled, 2023
Acrylic on Canvas130x140 cm | 51x55 inches
Untitled (L.O.D.S.), 2023
Acrylic on Canvas160x200 cm
Untitled, 2022
Acrylic paint on canvas170x220 cm | 67x86 in
Unspecified Objects
2023
Paper mache, acrylic paint
Untitled (Broken Pattern), 2023
Acrylic on Canvas
60x60 cm | 24x24 inches
Acrylic on Canvas
60x60 cm | 24x24 inches
Broken Pattern, 2023
In my painting series, Broken Patterns, I took textile pattern design as a starting point. Textile patterns are designed as a whole, but as soon as the fabric is cut, sewn together, and filled with the volume of a moving body, the pattern is broken in unexpected ways, continuously generating new images. I adopted the interplay of control and chance and employed printing techniques to rework patterns into new painting compositions.
Untitled (Broken Pattern)
2023
Acrylic on Canvas
60x60 cm | 24x24 inches
Untitled (Broken Pattern)
2023
Acrylic on Canvas
50x50 cm | 20x20 inches
Pods, 2022
Sculptural PaintingsIn Pods, I examine aspects of my painting and assemblage sculpture processes to bring them closer together. I experiment with deconstructing my painting practice to reapproach it as an installation. To do this, I assemble, deconstruct, connect, and repair to create a new installation form and a novel path for my artistic process.
To be more specific, I spatially disassembled the stretcher frame that gives the painting its format—in depth, width, and height—and used it as a grid within which I could build an installation and from which I could have it break out.
I took up some of the central aspects of painting, such as form, color, gesture, and composition, and transformed them into three-dimensional correspondences. Lines and gestures became fragments of metal pipes and rails, rubber hoses, and ropes; I translated patterns using acrylic sheets, stones, magnets, sheet metal, and other building materials; shapes and gestures became poured concrete forms and plants. These components stretch in and out of the frameworks—they hang, lean, balance, jam, pile, or snap into their assigned places.
Dawn Series, 2021
28 Acrylic Paintings
Artist Statement
The inspiration for my abstract painting cycle, Dawn Series (2021), stems from the English translation of Homer’s Odyssey by Emily Wilson. Reading the Odyssey, I was particularly fascinated by the reoccurring motif of the dawn. While dawn “always appears, always with rosy fingers, always early” (Emily Wilson), it drives the story forward and brings about a very different day each day. I was fascinated by its repetition throughout the poem and its subtle modifications in phrasing which kept me engaged as a reader.
Coming from sculpture and assemblage work, I have been pursuing abstract painting for the last two years. It enabled me to integrate new procedures into my practice, adding different aspects to my image creation, such as color, contrast, layers, and rhythm.
When I started with the Dawn Series, I asked myself, was it possible to create a set of repeatable procedures, executed with slight variations to create a series of same-sized yet singular abstract paintings? Repetition would be crucial to anchor the process and move it along. Omission and alteration would support a dynamic process with different ensuing pathways in a continuous cycle.
The decision to use the same format (100 x 130 cm) for each painting provided structure and ultimately a lot of freedom within the frame. I mostly worked on the floor to apply the fluid layers of paint. The identical format allowed me to line up the canvases next to each other or even partially stack them on top of each other like a cascade to move paint from one canvas to the next and allow lines or shapes to continue and colors to repeat or reemerge on different canvases. To reinforce the idea of continuity, I worked predominantly with acrylic inks. It allowed me to use it flexibly with markers, brushes, or buckets to create subtle textures on the canvas without a heavy impasto build-up and thus give it a more ephemeral appeal. Next to the paint, I also used water as a painting device to move and remove paint and create negative marks.
The inspiration for my abstract painting cycle, Dawn Series (2021), stems from the English translation of Homer’s Odyssey by Emily Wilson. Reading the Odyssey, I was particularly fascinated by the reoccurring motif of the dawn. While dawn “always appears, always with rosy fingers, always early” (Emily Wilson), it drives the story forward and brings about a very different day each day. I was fascinated by its repetition throughout the poem and its subtle modifications in phrasing which kept me engaged as a reader.
Coming from sculpture and assemblage work, I have been pursuing abstract painting for the last two years. It enabled me to integrate new procedures into my practice, adding different aspects to my image creation, such as color, contrast, layers, and rhythm.
When I started with the Dawn Series, I asked myself, was it possible to create a set of repeatable procedures, executed with slight variations to create a series of same-sized yet singular abstract paintings? Repetition would be crucial to anchor the process and move it along. Omission and alteration would support a dynamic process with different ensuing pathways in a continuous cycle.
The decision to use the same format (100 x 130 cm) for each painting provided structure and ultimately a lot of freedom within the frame. I mostly worked on the floor to apply the fluid layers of paint. The identical format allowed me to line up the canvases next to each other or even partially stack them on top of each other like a cascade to move paint from one canvas to the next and allow lines or shapes to continue and colors to repeat or reemerge on different canvases. To reinforce the idea of continuity, I worked predominantly with acrylic inks. It allowed me to use it flexibly with markers, brushes, or buckets to create subtle textures on the canvas without a heavy impasto build-up and thus give it a more ephemeral appeal. Next to the paint, I also used water as a painting device to move and remove paint and create negative marks.