I perceive painting as an attempt to reach “as deeply as possible” — to the core, to primordial structures. I would like to create paintings whose viewing becomes an active, dynamic process — a process that unfolds not only on the level of interpreting the image’s content, but also on a purely perceptual level.
How do I imagine such a process?
It resembles the analysis of an image through a stereoscopic microscope. Such a device allows for a smooth adjustment of the level of magnification of what is being observed. I am fascinated by a kind of painterly matter that allows (or even provokes) the viewer to vary the distance from which the image is seen — from large distances to very close proximity, even measured in centimeters.
To encourage the viewer toward such an analysis, the painterly matter — in its smallest fragments — must be highly condensed, heterogeneous, and saturated with as much information as possible. This effect can be achieved through the differentiation of color values, tonal gradations, linear qualities, and textures.
Matter created in this way possesses a visual depth reminiscent of a boundless landscape with an infinite number of “images within the image.” We become aware that we are simultaneously looking at a single painting (understood as a whole) and at the same time at “thousands” of autonomous painterly worlds that constitute it. The movement of the viewer’s gaze — up–down, left–right, and near–far — creates a remarkable sensation of inhabiting a three-dimensional spatial model.
