Painting has a language of its own and everything else is a bad translation. For me, painting is an act of putting paint onto canvas through instinct, intention and accident. The rest belongs to the viewer. I follow no trends or fashion. Just my eye and heart.
When I paint, I steer away from directness, and when I talk about painting, I steer away from explanation. I’m not going to tell you what you’re looking at. Or how my painting is filled with meaning and how much abundance it will bring into your life. In fact, you should be suspicious of any artist who does that because if they do, they’ve probably been following some online marketing guide on how to sell more art which tells them to boast about the value of their work. This is very far from my credo. For me, painting is an act of putting paint onto canvas through instinct, intention and accident. The rest belongs to the viewer. My only goal is to help you, using Francis Bacon’s expression, “unlock your feelings”, fire up your imagination, bring up memories and dreams, and allow whatever voice you’ve been supressing to be loud and clear. I believe that any work of art either speaks to us or not. It doesn’t need an epic poem or a lengthy curatorial text to translate its meaning or a skilful copywriter to describe its value. Instead of telling you what the painting is about, I can tell you what I’m interested in as an artist. I am fascinated by the meanders of the human psyche, especially its darkest corners. What interests me is what we don’t express and admit, not just to others but to ourselves. Hidden desires and repressed feelings, haunting memories and inner conflicts; the pain and longing. I am interested in otherness and difference, manifested through passions and needs which escape socially accepted norms and fight for their reason to exist. I am drawn to the intersection of the rational mind with the most primary instincts, which we are so unsuccessfully trying to curb. I paint mostly in acrylics and occasionally use oils in certain areas of a painting. After years of working in oil, I moved to acrylics because I find that with their fast drying time and certain rigidity in application (as opposed to the smooth flow of oils), acrylics are much better suited to my needs as a painter. They require faster decision making, taking risks and embracing accidents. I value chance and subconsciousness as important factors in creating a work of art because “the moment you know what to do, you’re making just another form of illustration”. My painting process is an overlap between accident and control, and a lot of the time I aim to disrupt what I can do with ease. I work from sketches and photographs, which serve both as points of reference and triggers of ideas. I believe that truly meaningful art grows from life experiences, relationships, hardships, and engaging with the world, as opposed to shielding oneself from discomfort and pain. I’ve no interest in either making or viewing flashy, superficial and gimmicky art. I follow no trends or fashion. Just my own instinct.Read my biography