Gallery
Figurative motifs - oil
Figurative concept
I began working with figurative motifs around 2003. The grey city concealed a colourful social life full of varied contrasts. I felt vitality and surprise at every turn. In a daily newspaper, a woman's face caught my eye. It was pink, almost blood-red, covered in snow-white make-up. I began collecting photographic documents. After minimalist and abstract work, countless concepts and the paradoxes of video art, I was drawn to natural modelling, to the possibility of savouring subtle, real relief and contour lines. A smile, an eye, hands: it meant discovering them - those hands, that nose and the mouth that spoke. It spoke in such a way that this very mouth remained recorded.
It was joy that prevailed over the complexity of some of the documents. The arrested moment, at times monochrome, brought calm and concentration on the relief of the modelling. This concept remains unfinished, open. It conceals a beauty that we ourselves disdain, because it is often embedded in commerce. This duality is a kind of mystery that surrounds us at every turn.
I grasped reality, both ordinary and extraordinary, and discovered an utterly monumental resonance within it. Reality thus became a kind of adventure and a new school for me, one that continues to surprise and delight.
I began working with figurative motifs around 2003. The grey city concealed a colourful social life full of varied contrasts. I felt vitality and surprise at every turn. In a daily newspaper, a woman's face caught my eye. It was pink, almost blood-red, covered in snow-white make-up. I began collecting photographic documents. After minimalist and abstract work, countless concepts and the paradoxes of video art, I was drawn to natural modelling, to the possibility of savouring subtle, real relief and contour lines. A smile, an eye, hands: it meant discovering them - those hands, that nose and the mouth that spoke. It spoke in such a way that this very mouth remained recorded.
It was joy that prevailed over the complexity of some of the documents. The arrested moment, at times monochrome, brought calm and concentration on the relief of the modelling. This concept remains unfinished, open. It conceals a beauty that we ourselves disdain, because it is often embedded in commerce. This duality is a kind of mystery that surrounds us at every turn.
I grasped reality, both ordinary and extraordinary, and discovered an utterly monumental resonance within it. Reality thus became a kind of adventure and a new school for me, one that continues to surprise and delight.
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