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Any accumulation of elements within an area is submitted to an order of some kind. Real chaos is so rare that it is a miracle to be confronted with it. All our existence and all that we as humans can imagine is adherent to laws. Laws of nature, laws of ethics, laws of aesthetics and logic. We belong within patterns, and so do our art and inventions. The configuration of patterns is a constant and complex procedure that goes from chaos through a development towards the orderly fulfilment of that specific system and is followed up by a decline and disintegration ending up in total chaos, entropy. The whole process goes on perpetually in some form or another. The pattern at its fulfilment does not represent a constant; it is only giving us a glimpse of its full potentiality before decline sets in. Thus all systems follow the same laws.
I want to present images that are instants in the progression of systems. My imagination build linear structures that can give pattern-references to radio waves, x-rays, electrons colliding and emitting other particles, birds flights, winds, heat waves, colours, light and reflections, all kinds of statistics, movements of ants and bees, dust particles, sand, music.
The art object can be decoded and the message transmitted in the same way as mathematicians share information and skill's beauty through their equations. But this is the human valuation of the object as art. I believe in the objects own existence, independent of our conception. This object’s identity can be perceived in glimpses and it is the artist’s merit to introduce others to this reality.
My visual fantasy works so fast that I can only catch the swift passing images by so-called “snap-shots,” where the probability factor of uncertainty is still active. The perfect, the absolute, lasts only for a nanosecond and always escapes my registration. The sublime permanence, the eternal, unchangeable and stable is out of my reach. My installations are aiming at a balance and harmony even if they are temporary. This way of composing for a short duration and for small spaces is comparable with chamber music: pieces for a string quartet or a jazz group, nothing very spectacular or grandiose. My visions are not for concert halls. The forms, lines and colours may linger in the memory like sounds, rhythms and intervals. I am concerned with ambiance, the space where you can breathe freely and relax.
The objects are there for the moment of now, and then they are gone. People come together and have their interactions, music, talks, and discussions. Individuals reflect each other even if they don’t agree, they respond and there is interaction. The melody is carried by all; there is balance with instants of joy.Installations are at the service of the explorer who has to orient himself in order to find what he doesn’t know and has never seen. There are combinations, like in chess, that have never been observed nor tried out; like in music, where notes have never been heard together in this particular rhythm. Or in words, in colours. The physicists and mathematicians have never tried this unknown formula that they long for and that will open their minds to yet other possibilities. In all disciplines there are new directions to discover, new roads to take.
The arranging of things in front of your eyes may correspond to a wish to control the world. The urge to bring order into a complicated existence is imperative. Once a certain order is established, the eye can relax and the spirit can enter into the image and enjoy the interplay of the objects. The composition may be a challenge for the mind to explore. Individual elements are defined and have found their places according to rules that are inherited from your cultural origin. You are able to see and appreciate how they interact and fulfil the need for balance. The objects relate to the environment and each other like humans do, no one is self-sufficient; they need each other to inhabit the given territory. A trained eye can follow complicated lines and forms where merging patterns are playing. The installations are set in the monastic atmosphere of the studio in the tradition of Zurbaran and Morandi. I am fond of corners where the third dimension of the stage obtains a heavier importance, and I like the objects to pose at the point of falling, threatening the whole composition to collapse. “Strolling on the edge of a volcano, we enjoy the scents of flowers."
The greatest challenge is to transcend the objects, dismiss their use and meaning, to let them exist in their own reality without our defining, judging or classifying. To enter a still life is to abandon rules and concepts, trying to renew the vision by washing out all that you think is needed for a human being: your security and comfort based on common logic.I am not trying to postpone the inevitable or prolong any illusion of stability.
The result of my work should be understood as proposals, not definite statements.
