Expression of Intention.

STATEMENT 

Conversations with Shells.

There is something about living around nature. Living on a small island can have its advantages to the artist. Nature is generous in providing us with all kind of wonders around. Being to the beach is so important to me. One of the important discoveries was to re-discover in a sense the structures of shells, corals and leftovers of the sea.I could feel that something could be built up and developed from there. I am fascinated how by simple observation, one can see hidden elements. As an object it holds its secrets and mysteries.
 

There is something fascinating about structures of dead sea shells. I would like to take time to think about them. There is  a symmetry there but also light asymmetrical elements. Fascinating objects;unique and even more fascinating as the ones eroded by time. They fit into the hand;they are so delicate, intriguing and beautiful to look at.There is something hidden that reveals itself on closer inspection: all you have to do is invest some time to find out what is there. As discussed I feel for the beauty of nature around me and though not directly; I have often found associations in my works. There is a strangeness in those complex shapes and structures that I would like to have people to react to; and also the issue about inside and outside;void and weight;perception and intuitive memory...

Drawings from Observations:

These are very important explorations for they are the starting point. They directed me to my personal aspirations; making things more selective.

 

Cut-outs:

 Another way to get the feel..

Painting Sketches:

Following the ideas of Georgia O'Keeffe :"When you take a flower in your hand and really look at it, it's your world for the moment. I want to give that world to someone else. Most people in the city rush around so, they have no time to look at a flower."

I would like to enjoy this personal feeling of contemplation; to maintain an inner state of calm while time does not need to get in between, "creating an equivalent for what I felt about what I was looking at-not copy it" (O'Keeffe)

Drawing from memory: 

I wanted to think on the way things could be perceived differently (this method of drawing from memory was also a method Alberto Giacometti used to evolve in his style.) The ideas about how the conscious is storing selected information in an organised system is really something which could be pursued further. I like the idea where the "presence" is wholely and simply felt with the solid shape and feel of the texture. Direct carving was important as the projected image from the subconscious would seem to work out its way through the material. I always liked working on soap as if I was sketching on something:reaching out for primal thoughts and ideas and working on a small piece. Was it not the "plastic sensibility"; "the sensation of the tactile qualities of surfaces"(argued by Sir Herbert Read: The Art of Sculpture); the whole idea around palpation and handling of the object when I was strolling on the beach which finally led me to the fascination of this subject in the first place?. These seemed to be my latest Leitmotifs: the touch versus the seen;the intuitive versus the representational; sculpture versus painting..
 

  

Painting with fingers:

My latest experiments are working with hands and I am enjoying the feel and the intuitive element.

INTENTION
Essentially I would like this tactile element to remain while exploring on painting methods on series of different dimensions;working on different canvas at the same time.