My painterly practice stems from or reacts against on my twenty years’ experience of photographic production. I started as a photographer, whose imagery is on the borderline between cinema, fashion and theater. In relation to my photography, my paintings can be regarded as the other side of my art, as the negation of what my photographic work stands for. If photography is all about framing and capturing, my painting is all about boundlessness; it is an act of unleashing rather than capturing. My paintings are outbursts of paint and color staging the shift from abstract chaos to the creation of figuration.
I consider that my paintings are related to abstract expressionism, color field painting, and graffiti art, after all of which was processed by pop art. My form of abstract expressionism can be regarded as post-pop, and my palette is phosphorous and ice-creamy; governed by pastels, and colors that represent post natural, extremely artificial and culture absorbed way of life and habitat.
Untitled (2018) is an epitome of my painterly practice, in the sense that it defines abstract painting in terms of a landscape which is both outer and inner; both an urban cityscape and a mental landscape. The colors I apply to my canvases, and to this canvas, are, at first glance, related to the tradition of color-field painting, and are faraway from colors found in nature. My palette is usually phosphorus, and even when I work with colors that are ascribable to natural elements, I distort them and use the shades of a purple flower in a planar manner to represent a topographical area. But nevertheless, my painting is a sort of equivalence to nature, since it is all about boundlessness, and it amplifies the tin line dividing purpose and purposelessness, control and lack of control.