the SECOND COMING
SIGNS OF REVELATION, 915 x 1220 mm, oils and mixed media on panel, 2020
SIGNS OF REVELATION uses a series of marks/markers in the ground, which, from both a genre and an aesthetic perspective offset the abstract qualities of the work and point it towards figuration. These marks, markers or vertical slits, puncture and penetrate the work itself, acting as harbingers to an unknown event and delineating the space of the work as the receptor of this happening. The work is suspended between the spiritual barrenness of silence and the charged anxiety of anticipation.
the second coming
The series is inspired by the apocalyptic poem of WB Yeats and is founded on the uncertainty of anticipation. The works reveal an uncertain place, where the viewer is thrown at the start of an uncertain path, summoning “a breaking into” the virtues of the works. This invitation to invade the aesthetic, philosophic, and meditative spaces of the works is an awakening of the anxiety of the unknown, proposing both the hope of revelation as well as the terror of catastrophe.
se koúnia (in cradle), 1800 x 1800 mm, oils and mixed media on canvas, 2021
se koúnia (in cradle) is located between abstraction and figuration. The work makes reference to the double meaning of the title, as being in the cradle of birth, and the implied, playful rocking of a swing; contradictorily represented by the stillness of the three swinglike objects that in a zenlike fashion suspend in the meditative barrenness of the encrusted paint. The spurts and gushes of the paint on the canvas itself are symbolic of pre-natal activity, while the stationary triad, which defies motion, points towards a time when all action has stopped; when all life has been truncated. This work is suspended between the spiritual barrenness of stillness and the charged anxiety of anticipation.
DEAD HARE (Hommage to JB), 915 x 1220 mm, oils and mixed media on panel, 2020
The work is a homage to Joseph Beuys’s performance wie man dem toten Hasen die Bilder erklärt (How to Explain Pictures to a Dead Hare), performed by the artist on 26 November 1965 at the Galerie Schmela in Düsseldorf. It is inspired by Beuys’s own words: “… the Hare is a symbol of incarnation, which the hare really enacts - something a human can only do in imagination. It burrows, building itself a home in the earth. Thus it incarnates itself in the earth.”
FIRST SIGNS, 760 x 760 mm, mixed media on canvas, 2021.