Groundwork

The starting point of my work is the earth, the ground, and the tree. To begin my process, I need to be physically present in the landscape because I believe it’s essential to experience things in an unmediated way while creating. In this way, I can sense the weather parameters within which the landscape is immersed, while by direct observation, I can ensure multiple points of perspective compared to what the use of a photo would offer me. I usually choose to paint deserted, empty or semi-abandoned by the human presence places because of the eerie, melancholic dimension they exude. It is important to note that my approach to painting is by no means limited to the literary "illustration" of the subject matter. Instead, my process involves an abstract study of geological morphologic incidents, simulating a cartography process.  

Moreover, this obsession with cartography inspired me to create a body of purely abstract paintings based on the grid (see the section, Works: 2019-2021). Just as in landscape paintings, where every tiny brushstroke is modulated in colour as they are juxtaposed, the same applies to abstract works, where every colour value changes as each square of the canvas is painted. However, what is radically different in the latter is that the continuous stimulus does not derive from observing the natural world. Still, on the contrary, it is the result of an invention based on mathematical algorithms and the theory of musical counterpoint. Applying an extremely dense grid design, I aimed to produce images in which all kinds of dominant shapes entirely disappear. Instead, the work is broken down into a series of divisionism sequences of light and shadow that constantly neutralise each other,, sometimes creating a haunting glow. This body of work eventually led to my first solo exhibition.

In artworks including human figures, I create a sort of theatrical setting in my studio, a 'mise en scene' where the model fits into it semantically, taking on a role. I tend to paint my setups in life-size as my goal is to produce an image that is too "vivid", not only through the realistic painting effect on the actual scale but also at the level of narration. Finally, I must note that I feel the need to move to different realms or genres of figuration from time to time. This keeps my creativity flowing and introduces fresh perspectives and ideas.