For a day old, I killed the two days old.
I create a world that allows me to experience the emotional ups and downs needed for the completion of an idea. In this real, but factitious world, the ability to discover the purpose of creation seems as complicated as explaining, with a single sentence, how humanity fails in modern society.
What I create is of no importance. I have a minimalist approach to dialog that originates in the tradition of Eastern aesthetics, in which time and space travel to meet human existence. What I stand in is a mixture of finding and holding. I respond with reason to careless and violent acts; I imagine art as a naked figure, ready
to be dressed in formal clothing. I keep my subjects at a distance even in passionate moments. The history between the subject and the maker is crucial to my decision-making process; the expressive element of line
and the representational form is clearly visible; stillness exists in photographic flatness, which is a language of simplifying reality. Within my surroundings I search for the sympathetic quality of objects with unknown origins. For this reason, I prefer to work with materials directly on the surface of a wall or the ground, I have created many two dimensional works and consider them to be a genre called “one night stand making art”—for exercise, pleasure, and romance only.
Recently, my artistic evolution has brought my focus on the book and map formats to fortify the relationship between pages and layers, between telling and recording. How else can an image affect us after we lose the memory of it? If there were no reference, no record, no story, and no memory we would have a natural object but no monument. Eventually, I would like to bring the images and installations together into entropy and
craft from it a story that is personal, collective, and monumental.
What I create is of no importance. I have a minimalist approach to dialog that originates in the tradition of Eastern aesthetics, in which time and space travel to meet human existence. What I stand in is a mixture of finding and holding. I respond with reason to careless and violent acts; I imagine art as a naked figure, ready
to be dressed in formal clothing. I keep my subjects at a distance even in passionate moments. The history between the subject and the maker is crucial to my decision-making process; the expressive element of line
and the representational form is clearly visible; stillness exists in photographic flatness, which is a language of simplifying reality. Within my surroundings I search for the sympathetic quality of objects with unknown origins. For this reason, I prefer to work with materials directly on the surface of a wall or the ground, I have created many two dimensional works and consider them to be a genre called “one night stand making art”—for exercise, pleasure, and romance only.
Recently, my artistic evolution has brought my focus on the book and map formats to fortify the relationship between pages and layers, between telling and recording. How else can an image affect us after we lose the memory of it? If there were no reference, no record, no story, and no memory we would have a natural object but no monument. Eventually, I would like to bring the images and installations together into entropy and
craft from it a story that is personal, collective, and monumental.