In my view, my art mirrors the multilayered-ness of life itself. On the one hand, I record it with powerful colors and on the other, using a reduction to black and white.
In my color paintings - using pigments, acrylics, pastels, tempera and water colors - I combine powerful, unambiguous brush strokes with soft surface areas. Sometimes things are very quiet and tranquil on the canvas, and then at times the powerful colors are seized with a kind of ecstatic energy. Untamed structures, grabbing hold of space, unfold and break free to open up new paths, then encountering cleanly defined shapes, offering certain figural associations.
Pictures are painted, painted over, and new ones emerge, and this multilayered-ness gives birth to the emergence of a new dimension.
In a formative phase of my artistic development, it was pain, and a preoccupation with my own physical form which guided me to the concept of "body rhythm" and to a painting technique reduced to black and white. Black/white to me represents "either/or". The white, untouched surface of the canvas receives black and gray shades through the imprint of my body. It thus becomes an impression of my own inner emotion. Via the repeated impressions / imprints of my body, rhythms emerge – from within to without. The conscious body impressions find their own rhythm on the picture. This is the moment, the here and now, which I am capturing. Sometimes my body moves fast, sometimes slowly. The music accompanying my movements is sometimes loud and sometimes quiet and inspires me to nuance the vigour of my imprint.
In my most recent work, I have granted increasing amounts of space to particular in-between shades, using a deliberately selected second color to breach the black/white rhythm. This new level possibly transforms the binary "either/or" into the multiplicity of a sense of "maybe", and an entirely new rhythmic motion arises.