I think of painting as a mode of construction. I’m not attached to a form but to the condition of its emergence. I am constantly questioning the foundation of the surface by playing with and disrupting the support. I am focusing on the tension and materiality found within the pictural plan.
I work in different series, each defined by their own technique and manipulation. Either through collage, sewing, or transfers, each series result of a different research with specific materials. Assemblage is a constant mode of construction, knitting all my investigations together.
My studio activity of building, deconstructing and repairing the surface, produces a residue, a reserve, a trace, which informs subsequent works. The paintings are a place where the different materials and modes of application brought together confront each other, operating within a discontinuous chronology.
I have an ongoing photographic archive of repaired doors from barns, garages, buildings and window-shops that I find in passing. I’m particularly fascinated by the repairs that are made out of structural necessity with the minimum. The material shift places everything into a pictorial occasion.