“Deconstruction” as a notion does not satisfy me when I describe my relationship with the painted image. I would prefer abandonment with the lingering prospect of a possible return. With an intention of constructing a different painterly quality, where the relationship with time in the here and now – and not with the immobilized time of the painted work – would be more feasible. Until then, the archaeology of every layer on the canvas and of every element that remains on the surface after my own destructive intervention and gradual removal of paint will stand symbolic of a world tha is constantly abandoned.
Excerpt from a conversation with the art historian Elena Parpa.
15.08.2015 – 15.08.2016