Three category groups are important for my work: Politics, Pop and the Private. When I make art, I reflect what I read, see, consume, feel etc. My daily life is filled with reading articles about international politics and terrorism in particular, watching TV shows, movies, pop music videos on the internet and experiencing my personal encounters with a lot of things and people in real life. There is a loosely connection between these elements and I try to find out which interfaces might be relevant.
In today’s world, where Britney Spears and Bashar al-Assad are only one tab away, the synchronicity of global proceedings followed by and filtered through us as individuals is capturing.
My intention is to establish a relationship of now. I want to activate the space between the painting and the viewer and to have an immediate impact on the cognitive, emotional and sensual resources in the viewer.
It is of no significance whether the result is a figurative, abstract or non-figurative one. Every painting is made individually, with its own logic and circumstances: The visual and physical presence of a painting matters, while negotiating issues, which are essential for our society.
When I assemble works for a show, I aim to formulate contradictions and complements by juxtaposing paintings containing different subjects. I am intrigued by the way the roles of images become qualified through this process. Negotiations change,
a new dialogue between the work emerges, and a new series of systems is made manifest. By constantly making new adjustments, the viewer has the opportunity to physically and visually navigate a flexible environment. Conclusions are drawn.
