Human disease.

I tend to work in series of images that are tied to a specific concept, which I extract from exploring my inner conflicts and fluctuating surroundings. In a constant process of coinciding my life with my work, I face the dualities and contradictions that arise in the continuous struggle between being a part of a larger structure(human race, process of time defining space and form, molecular composition, society, etc.)and being an individual. This collision tends to become the dominant force that defines my line of thought in nearly all of my work.

In the early stages of development, I let my stream of consciousness run its course, then analyze it in pursuit of the next level of self-realization (...though, even that usually comes with a further question). There is a constant back-and-forth between the inner lab-rat and scientist, causing persistent attentiveness which in turn gives me more awareness of the Form throughout the progression. Accordingly, the entire picture plane is taken into account and addressed in a very specific way in each layer of the painting, until it is satisfied both visually and conceptually.

The concept is usually a product of three levels: The composition underlines the significance of the format and establishes abstract unity both globally and locally (the whole series to each painting), creates rhythm and a certain narrative through the relationship of shapes and repetition. Markmaking and surface treatment (specific in each series and piece) is a backbone, which is used as a metaphor/symbolism to display more of a personal relationship to the subject. Oftentimes the images and themes are based on, are alluding to, or are tied in some way to a reference from philosophy, mythology, art and history.