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Artist statement

My works are based on spatial and planar cuts. The planar cuts are paintings. These are framed views, which are brought alive with the materiality of oil painting. The large canvases show details of objects, mixed and transformed. Finally they form a human-like shape, which is only recognizable from a distance. To see the paintings the viewer has to move. The painting technique, the colors and the subject, which is often an angel-shape, refers back to classical baroque painting.
Meanwhile the details and the inside of these angels are composed of details of machines, combined in a way they seem to be abstract, but still working as body-parts. Still the viewer can’t be sure to see everything right. This kind of uncertainty evokes a special sort of involvement, which makes these works interactive in a sensible way. The machine like body with it’s analogue origins seems old, in contrast to the futuristic mood. All these contradictions give a tension, which I use to evoke feelings. These are not definable sentiments, the uncertainty and the anachronism doesn’t let the mind respire.
The spatial cuts are based on the same concept, extended in the spatiality of a room. Since I am also an architect working with a computer software I am used to mix spatial and planar views. While designing a building we build the whole model in 3D and we use them through the monitor. In our age the classical model of the dimensions of 1-2-3 extensions together with the time seem to be old-fashioned. The dimensions of the spatiality and the linearity of time has become so complex that it is almost impossible to define them based on our classical point of view. In the spatial cuts series my aim is to manifest the digital spatiality, and collide the screen and the reality. Just like in my paintings I experiment with the human body, covered with paintings, but the most important gesture in these installations is, that these enlarged bodies are cut by the walls, just like the photo is cut by the frame. This is an ordinary case in computer aided architectural design processes, since we happen to cut and form with the imaginary walls. In the end the buildings are built, the walls cut spaces, which is invisible in itself. Still I want to make the space visible, while I show the other side of the virtual space, which is it’s in-scalability. As I had to design a 110m long facade and it was only 50cm wide on my screen I had to follow the scale inside my mind. This made me understand how we can change our own scales. In front of my installations the viewer has a feeling of being small. This feeling is broadened by pieces of the paintings which refer to my paintings. The baroque angel, enlarged, ripped apart and put together.
In the end the viewer has to work with all these impressions and effects. These controversial experiences are the imprints of my artworks.