My work mode is orderly and chaotic at the same time. Initially, an order of images and a hierarchy of formats are established to create an entire system of relationships between the works in terms of form and content, format, medium, and imagery. Concurrently, a chaos of uncertainty and intuitive curiosity exists, which lead me to delve into unknown realms. At times, I apply paint to cork and wooden boards with a roller on the studio floor and examine how the surface absorbs the paint, as a kind of meditation in pigment that reminds me of Rothko's plunge into his color fields. Sometimes I draw outdoors, in the open air, sur le motif (directly from the subject)—live, in real time, in different spaces (public as well as intimate)—in a desire to create direct art, as unmediated as possible. I regard the act of drawing as one in which the hand strives to translate an inner impression rather than imitate reality. The drawing usually integrates into and with the surface by means of a semi-transparent substance (ink, charcoal, or diluted oil) to such an extent that it does not seal the background, but rather is absorbed into it, virtually resonating from it.
My work deals with language, or more accurately—with the translation of language; the ability to introduce something abstract, such as a word, into a pattern of order and meaning, much like the ability to produce an art object in the world. I translate the reality in front of me into a painterly language. Processes of abstraction, subtraction, and refinement of form occur in the act of translation, alongside processes of distortion or addition, which alter and expand meaning. It may be said that my primary concern is the human condition. In retrospect, over the years I have touched on a sequence of topics where one led to another, in correspondence with the genesis narrative of the six days of creation. Whether consciously or not, a personal discourse was spun, from chaos to horizon, from horizon to flora, from flora to light, from light to fauna, and from fauna to man. Man as body, the body as matter, the political other, man as animal, the affinities between man and nature, and so forth. All of these provide me with a platform for existential inquiry, as each body of work is a chance to study dozens of drawings and paintings, which sometimes spawn painterly environments, giving rise to a painting installation. A dialogue is thus created, in constant correspondence with art traditions, between the work of art and the world, which is woven into a string whose roots are age-old.