Using thick painting makes it possible to look into matter, develop and investigate the images as well as building them up to become something else, something more than the given expressions of bodiliness and and surroundings that we consume. Occasionally, the raw canvas can be seen, the blank spaces opening themselves like traps. The importance of breaking down images becomes a personal way to process and approach my own perception of bodiliness, letting the human form grow into something other than the pictorial model.
Working specifically around shapes and anatomical content and surrounding creates a meditative sense of endless opportunities. What does it mean and what happens when something is changed from its original appearance? Many of my ideas are reactions to how our interpretations of the anatomical human figure are subjected to given limits - standards and norms imposed on us from an early age.
Painting suits me well since it becomes a recording of actions and decisions. All actions leave direct fragments on the canvas to act upon and evaluate. I crop and manipulate my images and allows the surroundings to penetrate and blurr the boundaries between objects. The work process from start to finish is a playful exploration and inspection of the pictures I have chosen. Although the conclusion never matches the original idea, the goal and next step are to unite them and make them match my inner vision. The basic idea is just a starting point that opens up opportunities and creates the conditions for getting started.