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In my hyper realistic work, much inspired by film, I try to capture details of highly enlarged objects or photographic moments in time; scenes, often decadent and noir style subject matters with a story to tell, like a movie still with an open ending, deliberately avoiding eye contact giving away a personality of the painted subjects, not to interfere with the imagination of the spectator and compelling them to think and imagine what has happened or what will happen next. Intrigued by light and the mystery of darkness I play with focus creating a sense of depth and connecting the image and viewer through the inclusion of the optical vocabulary of cinematography and the allusion to the constraints of the instant polaroid. Thus bringing into question the act of voyeurism and the anticlimactic and revelatory nature of privacy.

In my mixed media body work of painted ceramics on wood or glass/resin compositions , I try to capture and address these times of vigilance and voyeurism of hidden cameras and video surveillance that have become accepted in our society, creating awareness of this invasion of privacy for our own perverted need to know and watch all. In the name of safety and control and fed by the media this imagery has changed into entertainment and pleasure. Portraying public figures that became common good through the lens of a camera and a language of blurred and pixelated imagery, our eyes got all to used too over these last decades, photographic stills and scenes that can tell whole stories in one glance. In these pieces, built up out of hand painted ceramic tiles which I use as building blocks that by themselves are nothing more then that but together form pixelated shapes that merely suggest an image that our imagination transforms into flowing and complete figures.

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