Art possesses the ability to expose contradictions at the core of our human experience. On one hand, art is a function of human behavior; our actions define us as individuals. On the other, the fact that the formation of the self is conditioned by human action means that we can only be individuals in regards to a world of intentions that are external to us by definition.
My artistic agenda is not to resolve this paradox but rather linger and perceive it. I believe there are forms to be found within the activity of making as much as within the end products. Experimenting with the limits and possibilities involved in the particular interaction between one's action and the materials of the environment is part of the study I conduct. My works are often based on a clash between an abstract object and its implied functional structure. By resonating the function that the pure geometric form inhabits, the attribution of a sublime notion regarding abstract geometrical art is conflicted with a substantial nature it obtains. These visual structures perform as vestiges of their own origin while alluding an artistic language taken from a paradigm of art making.
My focus on the contextual ground of art making, relying on its pragmatic methodology and the significance of the means as a starting point is much affected by Minimalism. The dominant feature of contemporary art since the 1960s regarding the relations between an object, a space and a viewer forming a meaning produced in relation to a given situational reality is something that holds much interest for me; including the later understanding of the experiential turn in regards to the performative reality-producing dimension art had since obtained. Yet, although being influenced by minimalist abstraction and sculptural concerns, the methodology/production values in my works are replaced by a conflicted manner of presentation. The objects are deconstructed by the use of disruptive disintegrating materials, causing a discrepancy to the original abstract narrative to the extent that meaning is shifted and possible interpretation becomes multifaceted.
Some of my recent projects examine local materials and conditions as they exist in different environments, including a workshop, an abandoned bar ans a white cube gallery space. Whether reinstating artworks to alternative spaces or inserting a functional aspect to artistic settings, I question the dynamic between art and everyday life to activate specific cultural baggage.