I understand my art practice as a search for the inexpressible, the reality that transcends the merely visible. That which demands to activate a different perception open to intuition.
My current work represents a kind of intimate and meticulous diary in which each piece sums up what I have been going through during its time of formation. I use traditional techniques like stucco, gilding and egg tempera, not so much as a revival of old methods, but for the laborious and slow processes that they entail. Thus, I avoid everything which means a fast consumption of materials, in a more environmentally friendly practice.
These slow and laborious procedures tame will. Consequently, time enables outcomes that have far more to do with the density of what we experience and create, rather than with the simple measurement of time and effort.
Building a thread with my past, encompassing time and its resultant wounds, is at the core of my work. It is a means to seize the ever-changing nature and what remains. Frequently, every piece demands distinct requirements and quests for formation, unfolding metaphors linked to slow processes of mistake, misunderstanding and failure. Processes that, ultimately, also bring along findings and revelation.
All the pieces maintain the same small format of 34×21 cm, a proportion related to the golden ratio. After sealing a solid piece of wood with rabbit skin glue, linen cloth is attached on one side. Then, the stucco is laid. Painting consists of egg yolk tempera, and at times also traditional gilding.