Cosmic Energy: to Pronouns the Presence of Nothingness.
Ideographical signs as –metalinguistic and paralinguistic codes– deliberately spread on the surface to give shape to the prosodic rhythm, which defines a poetical character of my “painting as writing”. The primitive tendencies as a ritual and instinctive relationship with the nature and the sense of geometrical perfection both introduced in a dualistic way, which represents the eclectic coherence of modern man. Writing is an intellectual and ontological presence, black is geometry of emptiness, and rigorous lines and hasty writing all are about the psychological contradictions that I use as a precondition of sub-conscience. An apocryphal experience of devotion in ancient writings has always been my inspiration. Pictograms instinctively designed as an invention of an incomprehensible and incompatible language are aiming to produce signs of intellectual independency.
I consider myself a topiary gardener who works with the perception. My gardens are utopian places where plants and organic beings that crowding them are being fed by a cosmic energy. A magic of cohesion that emanates incessantly. A chaotic order but that looks like an absolute geometry. Each painting is like a garden where cosmogony is being reflecting as like as the geometry of chaos; harmony of imperfection, a fertile antinomy, divergences that reconcile impossible coexistences.
The contradiction between a shamanic instinct and scientific logic is evident, but no mystical tendencies emphasized on purpose although it may so seem. All these signs –material or/and gestural– that appear as neutral morphemes with a trans-sensual spirituality, are there to contradict the idea that the pause in moments of intellectual desperation tends to escape into emptiness as an unconceivable momentum.
What is mystical or hermetic in my art is only a mimetic embodiment of archaic behavior of art. In a way, I attempt to divulge the paradox in artwork. An anthropological search, without questioning what is progress or regression, but simultaneously a kind of instrument for re-establishing an archaic past of the rituality in art. I am the primitive of the future… A modern Shaman… Chronically anachronistic!