In my works, I am dealing with the notion of
temporariness in painting. I choose fragile surroundings for a painting, to be
created in an ongoing process with deliberate and coincidence actions. It was
important for me to create an indirect, physical, intersection between the work
and the viewer. I try to bring the painting into the point where it exists between
dimensions (One-two and three dimensions). My inspiration comes sometimes from
the material itself and from materials intersections. My interest is in the
painting as a show of flash and light which is being created from the
combination of the movement of the body and the eye of the viewer, the external
light and the work itself. Because of its temporary nature, the painting
sometimes becomes an eco for the performance of its making.
Recently I find the border between painting and other media such as photography and film as a wide surface to work in. I am fascinated by with the ability of photography to get inside the layers of the painting and show its guts, and by that, bring into an equal importance the act of doing (beside the image itself). I often think of photography as a research tool and of painting as the subject of research.
Architecture is a motif for my work, in general. For example, in a site-specific work I enlarged a small painting to the large-scale dimensions of the space, and in this act, abolished the gallery walls. Or in the series of paintings named "Acoustic Walls", I took a fragment from an acoustic room, turned it into a painting and by that brought its architectural nature to act as the main actor. Still, this architecture is one that seek for a reflection of eco, and becomes not only an object to look at but an object that looks at you.
It is a big question for me how to make a non artificial connection between actions and products. In my recent works the action is very intense and material, but the physical is being exiled from the exhibited outcome. This act, I believe bring into tension the relationship between the action of doing (notions of time, physical work etc) and the image.
Recently I find the border between painting and other media such as photography and film as a wide surface to work in. I am fascinated by with the ability of photography to get inside the layers of the painting and show its guts, and by that, bring into an equal importance the act of doing (beside the image itself). I often think of photography as a research tool and of painting as the subject of research.
Architecture is a motif for my work, in general. For example, in a site-specific work I enlarged a small painting to the large-scale dimensions of the space, and in this act, abolished the gallery walls. Or in the series of paintings named "Acoustic Walls", I took a fragment from an acoustic room, turned it into a painting and by that brought its architectural nature to act as the main actor. Still, this architecture is one that seek for a reflection of eco, and becomes not only an object to look at but an object that looks at you.
It is a big question for me how to make a non artificial connection between actions and products. In my recent works the action is very intense and material, but the physical is being exiled from the exhibited outcome. This act, I believe bring into tension the relationship between the action of doing (notions of time, physical work etc) and the image.
