My works explore the sensory and conceptual relationships between the individual and its physical surroundings. Grasping the human condition as a fragile netting, I aim to raise questions of exactly what is lived space, what is our body, and by what measures do we judge it. How do we move in the world, and how does that feel? How does our body relate to other bodies and to its surroundings, and how can we define the coordinates of our own position?
Technologies and strategies applied in orientation processes, in spatial navigation and the production of knowledge affect us alike direct, seemingly non filtered sensory impressions. Processes of perception have my special interest: a continuously changing presence, forms of non-permanence and feedbacks between perceiving, feeling and acting. I explore the limits of human perception and our capacity to comprehend and interpret our surroundings at a conscious level. How do we distinguish information in what appears to be noise? How do we orientate ourselves within a diffuse surrounding?
My installations are metaphorical places: experiential spaces, perceptual machines with sculptural qualities, and notational and semiotic systems.
Pursuing a research into our equivocal relation to the inscrutability of nature, I seek to poetically evoke an anxiety common to machines and humans over the plausible loss of control on their behaviour and address the viewers as the observers of their own sensory impressions.
Combining traditional and new media my works are functioning at the interface of the analog and the digital. I use a structural, aesthetic and multimedia-based analysis to associatively detect subliminal patterns. I switch and cross media and materiality and work on developing a language that uses the elements of this combinatorial approach keeping them structurally and aesthetically transparent.
To draw on site is to see and select simultaneously. Momentarily, the paper that I use represents the world. Its size and proportions dictate the boundaries and parameters in which I map that moment. Everything fluctuates between overlapping, unstructured sensations and the two-dimensional world of linear representation. I search for translations..
The movement and perspectives of the gaze are important. My aim is to follow the relationship of the two with my pen and map them on the plane. I record the scanning, exploratory movements of the eye at the moment of perception, tracing the different layers and intersecting points of surfaces, objects and spatial structures. In this way, I attempt to artistically filter and order what appears ambiguous and diffuse.
Lines circumscribe or divide; they define intersections and mark boundaries, which they also open or close. There are areas where things and relationships are not as they appear, and others in which boundaries and characteristics become blurred. Distance and space oscillate in the light, change according to the weather or shift through movement and change meaning. Many things are elusive. An object being traced a second time sometimes speaks of this. Drawing defines time and space. Drawing, mark making is a means to laying tracks and paving the way for the observing eye.