Artwork’s Title: A Forest Hidden by Trees
Materials Used: Oil on linen
Studio Based: London
Can you tell us about the process of making your work?
Usually my work evolves through multiple layers of paint. I start the painting with a rough idea about atmosphere, space and figuration. My Painting practice defines itself during the process of longing towards a final image, by constantly adding and removing; ideas, figures and symbols.Often the final image displays an almost opposing visual idea, to what I had in mind when I started the painting.
The different figures and symbols that continue to travel forwards in the process of painting start to have a visual dialog with each other. As if each element is a new person with its own traits entering the conversation. As the form of the painting goes through different stages each step feeds onto the next. Shown hunters converted to ghosts or ice hockey players. The painting in the studio becomes a moving image.
How would you define your work in a few words (ideally in 3 words)?
Slow, moving, hard.
Would you use another three different words to describe the ‘A Forest Hidden by Trees’ painting?
Root, trunk, branch.
How did you come up with this painting idea? Is there any story behind this painting?
This series of paintings began from a roll of photographs taken by my father, capturing the participants of a hunt located in a southern German landscape, 1980s. The use of these photographs only meant the starting point for the paintings. The duration of the hunt lasts an afternoon into early evening, a time span left in memory, but at different points captured through a number of photographs. These moments have a fleeting existence yet remain for us integral to make up a bigger sense of an event. Mirroring these moments of temporality, a process of painting uses a constant fluidity of figures and symbols, added and removed in order to consider an evolving event, moving away from its beginnings.
As the components of the painting start to read each other and intern write their own relationships. The painting enables the viewer to do the same, formulating an open message that positions the viewer as both reader and writer.
What colour is used the most in this painting?
Black I think.
Can you mention any artists you, lately or generally, take inspiration from?
Jörg Immendorff, Arno Rink, Andre Butzer, Werner Büttner, Thomas Scheibitz.
How do you know when this painting was finished?
I never really know. When I stop working on a painting for a while it’s usually a sign that everything had been said. It’s like having a conversation and at one point both parties are not really adding anything new or relevant to the discussion anymore. And sometimes it could only depend on time and space I guess.
What about the place where you work? What’s your studio space look like?
I prefer to work in a organized space so I can work in comfort. I can get really distracted when the studio space is messy.
Is there any particular message that you wish your viewers can take from this painting?
No not really. The substance of my work is mostly linked to personal matters and I’m not necessarily trying to communicate these towards the viewer, I think that’s due to a form of privacy you can find in painting. I guess my biggest aim within showing my work is to entertain the viewer.
What does your mum think about your art?
I think she likes it.
Which exhibition did you visit last?
Ride the wild: Oehlen West Wool at Levy Gorvy.
Which are your plans for the near future?
I’m going to take part in a group show called Plastic Chair Piazza II in a space called Honeymoon, which is the follow up to a show by my friends, Kerri Cole and Harry Roberts put on June 2018, when their work revolved heavily around travel and place, from an almost touristic point of view. Now the show really opens up and the work involved is more a broad consideration on place in general. Everybody welcome. 14th December, 226 Rye Lane.
©All images are courtesy of the artist