Tropical Garden Of Eden. Ink, charcoal, acrylic, oil on plywood, varnish, artificial tree. 1.80 x 4 x 0.5 m. 2005
My work is figurative. But the figure is an excuse, the chosen element (chosen by random) is to create formal problems. I assemble images from ready-made sources (papers, for instance) and work them until exhaustion. The same treatment is applied to any given material: textiles, timber, etc
I can say that one of my preoccupations is SEMIOTICS: by taking upon an given image, or material, and working them until exhaustion creating formal problems, I pretend to extract, or find out the reason why the image or material first caught my attention, and if such reason lies upon the underlying collective subconscious.
Usually such image or material becomes the subject of a series, effectively creating "islands" of subject matters in my work, that I visit or re-visit in time to time: the soldier, the Garden of Eden, the walk in the park, velvet, fences, etc. They comprise my ever growing imaginary, and sometimes mixed together creating a complete new subject.
The viewer might think that there is a narrative intention in my work just because I make use of the figure. My approach actually is quite detached, and more often than not I care little about the possible personal emotional content of a work. My objective is to generate the right circumstances to encourage the viewer's own interpretations. Given the opportunity, I would rather ask questions to the viewer regarding my work rather than answer. In this process of apparent deception, tittles are often long and incongruous. Above all, I reject any further interpretation.
At the end, in my
work what matters is the power of transformation, THE MAKING,
during which I adapt my own skills in the process, to make tangible
the "suggestions" made to me by images and materials
(where would they take me?). This process of apparent "exhaustion"
of the subject matter is one of forced integration, no planned
transformation, hence each work's own hermeneutic. I must add
the importance of the generous touch of synchronicity and serendipity.
Although my work is "organised" in series, each phase
(object) would ideally stand on its own, both conceptually and
as an object.
I Couldn't Kiss you Good Bye,
I Couldn't Tell I Love You, 200 Virgins, 200 Whores are waiting
for me. London 7/7 2005.
GROUP SHOWS, selection
|RUTHLESS - PECKHAM, The Second Run|