Some notes on my painting
I passionately asserted and continue to asseverate painting on a daily basis! It is a tool for me to discover and digest the world surrounding me. In art I have found a path that unite my senses with my cognition, knowledge with practice and theory with application. I can illustrate using forms, compositions, colours and textures all that the eye perceives, the mind structures and the soul experiences.
From the first line I ever drew and up to the works living in my fantasy, understanding the relation between ourselves and the world has always been the fixed and unchanging question. As is claimed by modern scientific thought, perceptible material reality is an illusion of human physiology, created in specific areas of the brain with the help of our sensory organs. Moreover, according to Plato, what our senses perceive is but “the imperfect depiction (the appearance) of the original Form (the essence) of a particular object, a particular concept in its archetypal dimension.” This is the illusion I wish to illustrate, extending its boundaries through memory and through a particular aesthetic approach.
I consciously chose painting amongst the multitude of expressive forms offered by visual arts, since by living in a reality predominately shaped by the image, an image alternating extremely fast, it is painting which insists to claim for time. That pause required for you to stand and observe, that pause required for you to see and not just gaze.
With respect to styles, I afford myself the freedom to experiment, to search and to be redefined and learn. Having said this, I borrow heavily from the painting tradition of Romanticism, where landscapes depict the mood and reflect the beliefs, desires andfears of men.
Interpreting our world joins hands with the realization of its illusion and this is expressed using elements of the illustrations of North European fairy-tales dating from the last century, in which perspective and proportions are distorted or lighting is unrealistically employed. My wish is for this “light” distortion of normality to force a more attentive view, in order for the observer to join me as I travel inwards, following this representational illusion, and to thus become immersed in the feelings and thoughts this experience may offer.
