'What is proper to the visible is to be the surface of an inexhaustible depth'.
Maurice Merleau Ponty, The Visible and the Invisible.

'In a culture of talking heads, the body is a hidden taboo.'
The Gurjieff journal

My work deals with relationships, especially the relationship of the corporeal self to the environment, nature and the urban world. Also, the relationship of the visual to touch and the kinaesthetic sense. It is based on a questioning of the dualistic distinctions forming our Western philosophy such as between inner and outer, self and other, body and world, matter and spirit, part and whole.
It is driven by a desire to explore, express and reclaim corporeality as a way of experience. I create documents of the desire of the carnal subject to represent itself and reclaim its relation to the world around it, rebelling against the confining structures of rationality, conceptualism and man made institutions.

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.

Flesh, as an essence weaving together the world, escapes classification, something that is the reason for its having been considered dirty, unruly, dangerous in our society.
As such its desires and forces are denigrated and repressed in the unconscious, and this forms a large part of the collective unconscious.
A revolution of the flesh is thus a transformation of 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 using photographs, otherwise 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.