PROJECTS

Silkscreen print on wallpaper with plaster doves, 12x5x8m

Silkscreen print on wallpaper with plaster doves, 12x5x8m

Silkscreen print on wallpaper with plaster doves, 12x5x8m

Silkscreen print on wallpaper with plaster doves, 12x5x8m

Silkscreen print on wallpaper with plaster doves, 12x5x8m

1994

RCA Installation

What does it mean to be a lord? Does it simply imply that one is better than other human beings and therefore entitled to exercise power over them, as the common use of the word suggests? Or are there other sorts of lordship, too? The visual inspiration for this installation has been the form of the dove as a symbol of the pure aspect of the human spirit that brings freedom and inner peace. In Christian iconography it stands also for the Holy Spirit, the force that inspires the motion of all entities in the universe. Being faithful to our true spirit is what makes us, after all, lords of ourselves, able to stand proud in a community of equals and stay in connection to our origins and our inmost nature – much like the loft of pigeons presented here, emerging from the foliage of an imaginary garden.

The moon. Mixed media stencil 2.5x70cm

Sunrise. Mixed media stencil 2x1.2m

Nesting. Mixed media stencil 2x1.2m

Inside the temple of the fields. Mixed media stencil 2x2m

The water you cannot approach. Mixed media stencil 2x2m

The gate of the fields. Mixed media stencil 1.7x2m

1991 - 1992

Magritte’s simple compositions that focus persistently on specific objects or scenes, thus endowing them with an uncanny, dreamlike quality, have largely inspired the structure of this group of works. The simple shapes and themes, however, have been invested with an extra layer of herbal patterns – close-up snapshots of moments in a garden, one could say. Gardens have often represented the holy place where matter meets spirit in many an iconographic tradition (in Europe, Byzantium, Islam, Japan et al.). To cultivate a garden, one needs to accept and respectfully pay heed to the natural patterns of change within it. The same goes for the cultivation of the human heart, where art may be present both as a necessary utensil and as a brilliant flower.

The way we were mixing our colors 1. Wood cut 50x70cm

The way we were mixing our colors 2. Wood cut 50x70cm

My moon house. Wood cut, paint, 50x70cm

Our cave talk. Etching 20x20cm

Our cave talk, ended here. Etching 20x20cm

The tree of remembrance. Wood cut 50x70cm

The landscape that expects you 1. Wood cut 50x70cm

Over our ideas flight 1. Wood cut 50x70cm

The landscape that expects you 2. Wood cut 50x70cm

We are the mirror. Wood cut 50x70cm

I saved the sun for us. Wood cut 50x70cm

I prayed to the tree. Etching, 20x20cm

The house of hands 1. Wood cut 50x70cm

The house of hands 2. Wood cut 50x70cm

Looking for our roots. Wood cut, paint, 50x70cm

The tree that paints itself 1. Wood cut, paint, 50x70cm

The tree that paints itself 2. Wood cut, paint, 50x70cm

I am the building. Drawing mixed media 20x30cm

We searched for our ancestors. Drawing mixed media 20x30cm

My observation room. Drawing mixed media 20x30cm

I prayed to the night. Drawing mixed media 20x30cm

Resting from the travel. Drawing mixed media 20x23cm

Over our ideas flight 2. Wood cut, paint, 50x70cm

1990 - 1991

In this group of early works, the media used (mostly woodcut and etching) were not chosen so much for their potential to produce multiple copies but more for their particular mode of expression: the deep contrasts and the sharp incisions employed in engraving are the perfect means to illustrate the profound contradictions and paradoxes that make up human existence itself. The fixedness of the compositions is a historical reference to the symbolic landscapes used as backdrops for the holy scenes in Byzantine and medieval iconography.