As a painter, I turn my gaze onto the world surrounding me,
a complex landscape inhabited by people, animals, plants, geographies and climates. Simultaneously, I am in a constant dialogue with the world of painting: its methodologies,
histories, conceptions. In this manner, my work exists in between two planes, the actual and the painterly.
I work with painting, and through it emerge onto print,
video and sculpture. Making use of all these mediums to
explore my own positionality. 

The acts of wondering, walking, being and viewing take
a central role in my practice. Through them I experience, transcribe and communicate my experience of reality.
Light has a paramount role in this undertaking, as an illuminator, director and captor. In my work, I explore the full gamut of the light; Not only natural phenomena, but also mechanical, digital and artificial. Including electric light sources, camera lenses, infrared surveillance footage; technologies that can “see” motion and “capture” heat. 

The human (artificial) and the natural (given) are subject matters I deal with often. I am interested in exposing humanity's subjugation of nature. And by this ‘looking outwards’, I am actually pointing inwards, to the self and society. I believe that each detail and individual has the ability to attest to a wider whole: every found weed is a world onto its own, and in its very being exposes the socio-political and historical
constructs dictating its fate, as well as the fate
of its geography. 

In my work I seek to hold a constant tension - between presence and absence, appearance and disappearance.
For these ends, I make use of oppositions in both form and content. For example utilizing harsh artificial lighting to illuminate “natural” scenes, putting down bold and expressive brush strokes to depict laconic imagery, and imbuing vitality into images whose origin is automated. Light meets darkness, and erasure allows for creation. In my video works this is taken one step forward, where my own body is turned into material, prop, background and canvas: an object and a subject both. 

Lately, more and more, humor has been entering my work.
In subject matter, accompanying titles and the very nature of the painting itself. As the view of reality (both locally and globally) emanates a complex existence rife with exploitation, displacement and violence; I seek to use the artistic as well as linguistic possibilities of expression towards the opening of potential, fantastic and surreal horizons.

For me, painting is a space of embodied, conceptual and societal action. Wishing to fully activate and engage with my viewer, I extend to them an invitation to act, move and think when faced with my work. Interaction with an audience and a community is central to my being, as a man and an artist.
I find that the meeting with the artwork allows one to meet themselves and their societies. This allows for an opening, for the imagining of new possible outlines for existence; hopeful perspectives for what is to come.