My work deals with the body in relation to the environment and the question of the boundaries between entities as well as between the concepts of the inside and the outside. It is based on corporeality, the sense of experiencing the world as a carnal subject.
It starts from an early questioning of the dualistic distinctions inherent in our Western philosophy such as these between inner and outer, self and other, subject and object, body and world, matter and spirit, part and whole.
It seeks to reveal the hidden desires of the corporeal self and its essence, flesh.
Flesh, as an essence weaving together the world, shared by different entities, as conceptualized by the philosopher Maurice Merleau Ponty, escapes classification, something that is the reason for its having been considered dirty, unruly, dangerous in our society.
As a result its desires and forces are repressed and pushed in the unconscious.
As such, they remain what lies hidden, below the confining structures of rationality, conceptualism and man made institutions.
A revolution of the flesh is thus a transformation of the world.

I believe that the corporeal, somatic aspect of being is now more politically relevant than ever. As an expression of the buried, silenced ‘Other’ of a system that becomes more and more closed in its hierarchically and logically organized structures. As the connecting thread between human, animal and plant, revealing the continuity and oneness of beings in the world.

My work evolves along tangents that invite the use of different artistic media with the main ones being painting, photocollage, sculpture and my body. It has a strong connection to photography, with many works starting from photographs or being informed by photographs, re-interpreting and transforming them so as to uncover the 'depth' that lies beyond their surface.

Natural forms and life processes- continuous change, evolution and transformation are followed and reflected in both what I make and in the way I work. So are senses other than vision, especially touch and the kinaesthetic sense, informed by movement practices such as dancing and yoga.

The relationship of the art object to lived space is another concern for me. I am interested in art’s place in the everyday environment, which has led me to organize exhibitions in my home, my studio, and my about to be demolished former house. I think it is important today to create such connections with society instead of perpetuating a secluded, disconnected realm of art.