After attending Vancouver’s Emily Carr College of Art and Design, and UBC, I decided to make a significant change from my previous figurative work to a more personal, intuitive and almost exclusively abstract art.
Abstract art gives me more freedom to express and the option to remain exploratory and energetic at all times. I am a hard worker, with an unfailing sense for color and design, consistently experimenting with new techniques. Producing the art starts with searching for a seemingly limitless range of supplies, from pastels, oil and acrylics to a large variety of paper types and dimensions. The medium is an important source of inspiration. Finding art material is carried out with anticipation and excitement and carries over into the initial stage of painting. There is no premeditated subject.
I need to fully concentrate and focus without any form of distraction. The option to return does not exist. What is done is irreversible. This method of working requires courage; there is nowhere to hide. Everything is instant and final. A line, color, composition and intuition at that particular time will influence the next move until the complete artwork emerges. The speed forces me to remain honest. There is no time for contemplation. As a result, the work captures a true “instant”, an almost imperceptible space of time.
Technique is secondary to my art. It is however my most powerful tool. My studio looks more like a laboratory or research facility. The paintbrush is my most important tool, yet in some of my work one has difficulty finding a single brush stroke. One method consists of forcing adjacent paints to flow into each other with stunning results, reminding of geological formations.
The research for new techniques, the curiosity to discover and to evoke new sensations is fundamental in my art. A lot of attention is given to the applying, moving and mixing of paints. If a new method is of particular interest, then it will be followed up and further explored. The search extends far beyond the usual oil paints, acrylics or water-based paints.
At times, I will use such materials as modeling compound or polymers and a variety of tools, as scrapers, wooden boards and sloped surfaces. The quantity of paint may be generous and the process is always fast and energetic. Viscosity and chemical compatibility, or the lack of it and the methods to move the paint may appear within the same artwork. The only constant appears to be change.