I often think about what I visualize in my mind and what I reflect back in the form of my artwork, and the relationship of the two to the shapes, textures and colors that I see around me. I think about my observations of the simple elements of nature, especially the bark of tree trunks, branches, leaves, and vines that wind around the trees. I have always been interested in redefining these elements on paper and canvas. I don’t know if this has something to do with my childhood, with the environment that I grew up in, or maybe I feel some sort of connection to the Southern landscape. Perhaps there is something in the nature here that I can relate to, or maybe it is exactly the difference in the landscape here from the landscape of my childhood that makes me want to explore it more and define it in such a way that it becomes mine.
To do this, I always pay attention to the medium that I use to make sure that it is right for the work I am creating. I often use paints that I mix myself using dry pigments. When drawing, I prefer to use pastel and colored pencils. My goal is to achieve a variety of brilliant colors on the surface of the canvas, panel or paper.
I like to bring colors to play. It may look like my brush or pencil strokes are placed randomly, but for me the process of placing them is very serious and I often step back and think about what I am doing so that each stroke serves a purpose, so that each stroke is defined separately from all the rest. I also want my work to be dynamic. I like to explain it so: Placing the squares, rectangles and linear strokes next to each other is easy, but thinking about the space as a whole, the brush and pencil strokes become a very important part of creating the dynamic on the surface. It is the pattern of repetitive images, placed in different angles, size, and color next to each other that gives my work a sense of movement.
I often work in series, and I ask myself what is dominant in my mind at the time. I see it this way: There is something in my mind when I work that creates an intensity that allows me to get into a kind of “flow” - not a rush of adrenaline, but I do often feel tremendous happiness after finishing a work, and also emotional exhaustion, a sense of relief. When I work on my Spill and Relieve series, for example, I feel like a tremendous accumulation of images and thoughts come together to form a core that keeps getting bigger and heavier and then is finally released. That’s the time for me to catch them and redefine them in my work. Sometimes I leave a painting or drawing for days, weeks or months, but it always stays on my mind, and it is always dynamic, waiting for new impulses, for the right time.