Thinking about human life as a disposable subjective biological existence going through transformation to an object in the contemporary era were society obsessive eye is present in any given time, I form a series of paintings - including repeated themes of phenomenas and social practices, rituals, aesthetic, western white grasp, objects as chattels and portraits.
The medium I use, oil on canvas, mainly traditional, essentially organic and limited on time.
However, thinking about 'painting' as an independent body, which is destined for long lasting biodegradation process.
In the painting I reference the photographic medium and quote forms that are accessible and immediate of the photograph such as mobile apps on smartphones: The image that is been used in my paintings is one of my own production, direction or taken from the media to be edited bluntly. The finished image as it appears in the painting can't be seen not from the human eye and rather not from a camera lens, but trough filtration process and transformation of reality.
Flattening and thickening, rejection and seduction, are manipulations that work on the viewer's eye.
Harmony and unity between content and form in consideration with Western classical art, sensuality and spirituality, which are woven in all arts object engage my painting.
Further context of the disintegration and decaying of the organic form is the self-portrait; dressed as an object detached from the body and continues to exist as a physical posthumous of the artists existent, the portraits themselves are integrated into the narrative objects which are consumables and those who are non: sapphire erring in front of the YOLO (you only live ones) shirt.
I use my body's metaphor to point out on things outside of it: I choose and create clothes and costumes, which are also objects that exist independently outside the painting and make me wonder about their nature as clothing item or an independent creation.
Thinking about makeup as a way to cover the body and the body as an empty shell, I find myself obsessing about synthetic materials such as cleaning poweders or refine sugar as a void material: the lack of real substance and artificial sweetener is metaphorically analogous to the act of vacant painting which I apply on images taken themselves out of the world of sugary kitsch.
The temperature I'm searching is melancholy and bitter cold, synthetic finish as porcelain finish with thought about the impact of porcelain and aesthetics of Dutch Delft.
Moreover I'm influenced by Painting traditions which put the death at the center as "Vanitas" (arrogance) or Christian "Memento Mori" paintings and from baroque era.