I started painting when I was about 4, I painted everything in my grandfathers garage green, all the tools, even the spokes on his bike. This is also the time I met my first art critic, yet he was no fan. Later when I was about 7 I drew New York with white chalk on my freshly painted green bedroom wall, though a magnificent work the critics again were not too amused. At the age of eight I joined a friend in a still life art class, just the one time. We drew with sanguine conte chalk, that has left a lasting impression and eventually led me to where I am now.
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At this point in time I gravitate towards large scale still life’s and the human figure as means to communicate my ideas.
In my still life’s I hold the use of motives for deceivingly treacherous, but I keep being drawn to them and try to make them not immediately apparent. I do keep away from the usual suspects of the still life metier. I like to use understatement as a means to tackle grander themes, big themes can be conveyed by the smallest of motives. The motives I use do have to have a certain depth that resonates with my recurring and ever more focused concepts. Concepts like: the passage of time, the temporary, obscurement, just to name a few. I also do like to flirt with Kitsch but will put a raw edge on it.
Art generally exist in a room or space, in my work I fill rooms, places with objects or humans to make it art, the surroundings in my paintings are important, to me they are in themselves an integral part of the artwork, they are the negative shape, the contra form that enhances my subjects. The human figures inhabit spaces and alters it by it’s presence or actions.
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I paint exclusively with oil paint. I use classical techniques and materials, I make a lot of the materials myself (mediums, paints) to ensure I have the best possible materials without fillers and or other additives. And I know exactly how they will handle.
I usually work in many layers, though labour intensive I find a lot of satisfaction there.
My older work is generally more precise and I am moving toward a more painterly style, though detail remains a key aspect. My work tends to be quite nuanced and calm, I love a limited palette and find as many nuances as possible there in. Balance in contrast is an important departing point, contrast not just in brightness but in tone, shape, color et cetera.
I pride myself in making some of my realistic paintings without the use of any reference material whatsoever. Though extremely time consuming it does give the greatest joy. For other paintings I will use references like drawings, objects. In my still life’s the background is usually invented.
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