WORK

• paintings

Superimposed layers of image and material, layers and transparencies evoke landscape spaces, which despite the informal gestures in the scripts / markers blend into seemingly figurative lawns or an imaginary flora that can be perceived as analogous to actual plants. Images between material self-reference and objective allusion. Whether as scoring (scripting) or extensive removal, the lesions of the surface always generate lost traces, empty spaces, which, in the exposure of the lower layers of the image, create something new and unforeseen. The motif of the landscape thus becomes a function of the material design. The strategy of provoking coincidences dispenses with a controlled figuration, with every illustrative and reproductive moment in painting. Rather, force fields emerge in the scriptures, which record the performative act of production and seek the narrowing of motif and painterly realization.

Superimposed layers of image and material, layers and transparencies evoke landscape spaces, which despite the informal gestures in the scripts / markers blend into seemingly figurative lawns or an imaginary flora that can be perceived as analogous to actual plants. Images between material self-reference and objective allusion. Whether as scoring (scripting) or extensive removal, the lesions of the surface always generate lost traces, empty spaces, which, in the exposure of the lower layers of the image, create something new and unforeseen. The motif of the landscape thus becomes a function of the material design. The strategy of provoking coincidences dispenses with a controlled figuration, with every illustrative and reproductive moment in painting. Rather, force fields emerge in the scriptures, which record the performative act of production and seek the narrowing of motif and painterly realization.

Superimposed layers of image and material, layers and transparencies evoke landscape spaces, which despite the informal gestures in the scripts / markers blend into seemingly figurative lawns or an imaginary flora that can be perceived as analogous to actual plants. Images between material self-reference and objective allusion. Whether as scoring (scripting) or extensive removal, the lesions of the surface always generate lost traces, empty spaces, which, in the exposure of the lower layers of the image, create something new and unforeseen. The motif of the landscape thus becomes a function of the material design. The strategy of provoking coincidences dispenses with a controlled figuration, with every illustrative and reproductive moment in painting. Rather, force fields emerge in the scriptures, which record the performative act of production and seek the narrowing of motif and painterly realization.

Superimposed layers of image and material, layers and transparencies evoke landscape spaces, which despite the informal gestures in the scripts / markers blend into seemingly figurative lawns or an imaginary flora that can be perceived as analogous to actual plants. Images between material self-reference and objective allusion. Whether as scoring (scripting) or extensive removal, the lesions of the surface always generate lost traces, empty spaces, which, in the exposure of the lower layers of the image, create something new and unforeseen. The motif of the landscape thus becomes a function of the material design. The strategy of provoking coincidences dispenses with a controlled figuration, with every illustrative and reproductive moment in painting. Rather, force fields emerge in the scriptures, which record the performative act of production and seek the narrowing of motif and painterly realization.

Superimposed layers of image and material, layers and transparencies evoke landscape spaces, which despite the informal gestures in the scripts / markers blend into seemingly figurative lawns or an imaginary flora that can be perceived as analogous to actual plants. Images between material self-reference and objective allusion. Whether as scoring (scripting) or extensive removal, the lesions of the surface always generate lost traces, empty spaces, which, in the exposure of the lower layers of the image, create something new and unforeseen. The motif of the landscape thus becomes a function of the material design. The strategy of provoking coincidences dispenses with a controlled figuration, with every illustrative and reproductive moment in painting. Rather, force fields emerge in the scriptures, which record the performative act of production and seek the narrowing of motif and painterly realization.

Superimposed layers of image and material, layers and transparencies evoke landscape spaces, which despite the informal gestures in the scripts / markers blend into seemingly figurative lawns or an imaginary flora that can be perceived as analogous to actual plants. Images between material self-reference and objective allusion. Whether as scoring (scripting) or extensive removal, the lesions of the surface always generate lost traces, empty spaces, which, in the exposure of the lower layers of the image, create something new and unforeseen. The motif of the landscape thus becomes a function of the material design. The strategy of provoking coincidences dispenses with a controlled figuration, with every illustrative and reproductive moment in painting. Rather, force fields emerge in the scriptures, which record the performative act of production and seek the narrowing of motif and painterly realization.

Superimposed layers of image and material, layers and transparencies evoke landscape spaces, which despite the informal gestures in the scripts / markers blend into seemingly figurative lawns or an imaginary flora that can be perceived as analogous to actual plants. Images between material self-reference and objective allusion. Whether as scoring (scripting) or extensive removal, the lesions of the surface always generate lost traces, empty spaces, which, in the exposure of the lower layers of the image, create something new and unforeseen. The motif of the landscape thus becomes a function of the material design. The strategy of provoking coincidences dispenses with a controlled figuration, with every illustrative and reproductive moment in painting. Rather, force fields emerge in the scriptures, which record the performative act of production and seek the narrowing of motif and painterly realization.

Superimposed layers of image and material, layers and transparencies evoke landscape spaces, which despite the informal gestures in the scripts / markers blend into seemingly figurative lawns or an imaginary flora that can be perceived as analogous to actual plants. Images between material self-reference and objective allusion. Whether as scoring (scripting) or extensive removal, the lesions of the surface always generate lost traces, empty spaces, which, in the exposure of the lower layers of the image, create something new and unforeseen. The motif of the landscape thus becomes a function of the material design. The strategy of provoking coincidences dispenses with a controlled figuration, with every illustrative and reproductive moment in painting. Rather, force fields emerge in the scriptures, which record the performative act of production and seek the narrowing of motif and painterly realization.

Superimposed layers of image and material, layers and transparencies evoke landscape spaces, which despite the informal gestures in the scripts / markers blend into seemingly figurative lawns or an imaginary flora that can be perceived as analogous to actual plants. Images between material self-reference and objective allusion. Whether as scoring (scripting) or extensive removal, the lesions of the surface always generate lost traces, empty spaces, which, in the exposure of the lower layers of the image, create something new and unforeseen. The motif of the landscape thus becomes a function of the material design. The strategy of provoking coincidences dispenses with a controlled figuration, with every illustrative and reproductive moment in painting. Rather, force fields emerge in the scriptures, which record the performative act of production and seek the narrowing of motif and painterly realization.

The central theme of the 'engrams' is the transition from abstract form-forming processes to landscapes that appear to be concrete. Although the works are strictly informal, that is, chance plays an important role, free landscape associations emerge, just like memories. Overlays of colored glazes are removed and destroyed in order to expose lower levels and to create the overall impression of light and an imaginary topography.

The central theme of the 'engrams' is the transition from abstract form-forming processes to landscapes that appear to be concrete. Although the works are strictly informal, that is, chance plays an important role, free landscape associations emerge, just like memories. Overlays of colored glazes are removed and destroyed in order to expose lower levels and to create the overall impression of light and an imaginary topography.

The central theme of the 'engrams' is the transition from abstract form-forming processes to landscapes that appear to be concrete. Although the works are strictly informal, that is, chance plays an important role, free landscape associations emerge, just like memories. Overlays of colored glazes are removed and destroyed in order to expose lower levels and to create the overall impression of light and an imaginary topography.

The central theme of the 'engrams' is the transition from abstract form-forming processes to landscapes that appear to be concrete. Although the works are strictly informal, that is, chance plays an important role, free landscape associations emerge, just like memories. Overlays of colored glazes are removed and destroyed in order to expose lower levels and to create the overall impression of light and an imaginary topography.

The central theme of the 'engrams' is the transition from abstract form-forming processes to landscapes that appear to be concrete. Although the works are strictly informal, that is, chance plays an important role, free landscape associations emerge, just like memories. Overlays of colored glazes are removed and destroyed in order to expose lower levels and to create the overall impression of light and an imaginary topography.

The work group of the 'Utopian Bodies' addresses the connection between sculpture and painting, reality and fiction: to transform / limit the wooden pictorial body with its rounded corners into a visual appearance. The informal and experimental painting techniques try to evoke materials in the structures of the color surfaces without reproducing them: brocade, velvet, lace, damask ... and to give the resulting imaginary volume and light: the utopian body.

The work group of the 'Utopian Bodies' addresses the connection between sculpture and painting, reality and fiction: to transform / limit the wooden pictorial body with its rounded corners into a visual appearance. The informal and experimental painting techniques try to evoke materials in the structures of the color surfaces without reproducing them: brocade, velvet, lace, damask ... and to give the resulting imaginary volume and light: the utopian body.