Art is mainly staring at your own Mistakes
In the works of recent years I have mostly (re) used recognizable aspects of our history, which have a profound influence on our contemporary culture as we know, view and experience it today. In the current climate, many of whom believe history has no relevance anymore, I notice that I continually return to those aspects that are often concealed or misrepresented in the "official" recordings for posterity. As an approach to making art; mostly paintings, for me there is the context of how the works have an impact on the relationship of the works getting confronted with the viewers, where does the confrontation begin, how significant are they, are they get visually accepted?
The art that I show here is about the question: how can the paintings, the portraits, usually to the most recognizable forms, appear as a pure significant image for the spectator? As a painter I usually use oil, acrylic, charcoal, glazing and other everyday pigments, in which details and structures on canvas are applied and depicted in different ways. The richly/thinly used colors and structure of each painting - the characteristics and contours of a face, the emotions that are written on it - serve the composition as an entirely new element. Here, the construction of a complex, autonomous and balanced image system takes precedence over the representation of 'beauty' and 'ugliness' or the achievement of truth.
In the works I do not actually show the faces of people, but I base each work of art on subconscious impulses, on the tops and valleys of sensation, listening and transcriber, on the emotions in it. These paintings are not controlled by a "method", but take place in a state of free, spontaneous flux line formation. Viewers can discover different elements from over the years of artistic practice: figures that seem to "etch" from the inside, the presence of a consuming energy, and an emphasis on painterly motifs that grow on their own and not from a technical perspective. After finalizing these images, until finalization, different -to -drawings break with attention to their materiality, see them begin to interfere with their new independent state of existence. It forms a pictorial language that extends beyond the paintings themselves, as in the always with white oil painting backgrounds as starting point, giving them, as it were, a cream-like delicacy that can leads to seductive expressiveness. This suggests somewhere the dreamy aspect of painting itself, and the surrealistic use of the portrait as an embodiment of fantasy and reality. Ultimately, the unique qualities of each portrait - alternately soft and hard, blurry and clear, bright and gloomy - as components, in a subtle rotating machine. The different layers in turn form a series of "resting points", a painted calligraphy of silences.
In the works of today I try to introduce a recognizable directness that I had already absent in the earliest works. Viewers can see, without any consideration of judgments or foreknowledge of, an analysis of the structure, a social context balanced in the paintings, as the thoughts and movements of the hand at the moment of the creation of each new image. It seems as if there has been invested in a return through painting as a trigger of the memory, a realization and thought process - from birth, to becoming, from painting as a language in itself, apart from techniques for 'authenticity' or 'artificiality' to produce. These images, mostly painted in larger sizes, in figurative form with their seemingly analyzed faces, force the viewer to come closer, and to make a judgment between reality and illusion. A painting is just always a confrontation.
As a painter with different starting points and influences, including photography, newspapers and existing paintings as a reference, I try to create works that tell the story of a/my generation: the cohort of men and women, born in the sixties, who in a time of rapid maturity was pinned between a wall of urbanization and approaching globalization. For me and other contemporaries, television, radio, newspapers and magazines were the most important source and provider of information. Now the Internet has become the exclusive replacement as media channel, but is this a source and provider of so-called objective information. As the basis of a wide range of contemporary streams of images and media source, I try to build up a kind of graphic buffer against the abundant worldly flow of information that begins to influence everything -over and in our lives and confusingly disturbing our thinking.
Painting maybe as challenge to show a sense of vigilant normality, and to try to reflect this in a sensitive way.
At the end there is not much to say more, why would it be painted, to be explained again, a bit pointless?