My degree project Moist, Still, Cradle consists of paintings in which I have worked with themes based on bodily experiences. I have therefore chosen a format close to my own body size. The scale helps me reach a state of “flow”, an unconditional existence where I gain access to body memories in my artistic process.
I work with friction in my painting. Therefore, in order to create resistance, I sometimes replace the brushes with everyday objects, such as a food knife, a wallpaper scraper or a tire. Through gestural painting, I manage to reach unconditional presence. During the execution, there is no room for doubt or second attempts; gestural painting is a quick process with only one try. If I let myself doubt, it is reflected in the result.
The combination of abstractions and natural phenomena—which are an important part of my art — is strongly linked to memories of being physically present in different geographical locations. I am also interested in the movement between these places; the journeys between the fixed and the temporary points of my life. In my practice, commuting between urban and rural areas has a decisive impact on my colour choices.
