…a traveler’s fictional account of place—space and time—of digital worlds and dreams….
This body of work was produced between 2005–06 (Rotterdam, NL and California, USA). A major selection of this work was exhibited at 21 Grand Gallery in Oakland, California in 2006.
From The Constant Traveler…
“And after that, the viewer will vanish into the view.” – Alan Watts
The aim of this body of artwork is to create windows and doorways, namely frames, onto abstracted and other-worldly panoramas. Viewing the artworks in this series demands a competence in navigating or orienteering through the fictional “scenery,” much like cognitive mapping or mental mapping. Links are also made to the psychology of perception, particularly to fixed-point perspective, virtual environments (both in reference to digital worlds and dreams) and viewer positioning. The images suggest scenery and movements by way of an abstract geometry of outlines and a flattening of perspective, and that time-space-motion is compressed into a single moment, where the landscape or interior is also to be “read” up and down, as opposed to always front to back.
At the periphery exist portraits, small mirrors as keys to unlock the relationship between viewer and landscape/interior—emotional relationships to distance, separation and the individuals progress through the journey…
The images contain a certain spatial disjuncture. They are constellations composed of mnemonic and personal associations. Within the process of mental mapping, a wandering through the mind-scape, the image of a space becomes explicitly individual and experiential rather than social or conventional. Distances are relative and flexible; scale corresponds not to actual size but to the importance of the place to the subject—a monochrome vision of a mechanically produced, meditative Paradise.
These are recent, chimeric artworks on paper. The dimensions of the work vary from small and intimate to grand in scale, as within my set of rules I create the small paintings to draw the viewer in, while the large scale paintings envelope the viewer, absorbing the viewer’s view.
Taking into account the reality of flatness on the paper’s plane, I am using certain techniques to infer layers, perspective and dimension. By combining rules of perspective drawing, multiple layers of different tonal black paint and applied glazes to the painting image, a drawing/painting emerges through a method of construction not unlike building a sculptural form. With this feeling towards the work, that I am building imagery as if I would build a sculpture or stage set, I aim to give the work a status of object, as much as a status of pure image.