Abstract

The point of departure is often a surface or material whose original context deliberately recedes within the image. Through close observation, its specific origin becomes difficult to determine; what remains visible are structures, traces, and transformations - scratches, abrasion, deposits, fractures, and layers inscribed over time.

The compositions themselves are often clear and reduced. Fields may arrange themselves in horizontal zones, be divided by a single line, or enter into a precise relationship with open areas. Color plays a central role: it may appear intense and saturated, muted and earthy, or recede almost entirely. What matters less is the specific object than the relationship between surface, boundary, structure, and color.

Perception changes with distance. From farther away, the works appear calm, planar, and highly reduced; at close range, they open into a multitude of fine traces and transitions. Both levels belong to the image. Neither replaces the other - it is the shift between them that reveals the work’s full effect.