My paintings are eclectic and symbolic. I play with elusive notions of memories and dreams, placing remnants of personal notes, poems, and photos amongst writing and recognisable images from recent and past events. This plethora of imagery takes on new meaning and symbolism when combined on one canvas. I use mixed technique to my practice to breathe life and vibrancy into collaged surfaces with acrylic, oil, ink, charcoal, and tempera. These fragmented images and texts emerge hazily from the paintings, giving you flashes of meaning but not divulging too much. My work is about finding a balance in this patterned and rhythmic combination of collage and paint.

My work is an interpretation of the differences between history and memory. How we are changing the memories every time we think about them, and how we recognize images and remember events, and how other people’s memories are different from your own. Memory refers to the ways in which individuals and societies choose to remember or forget certain moments and events in their history. With the use of collage and paint I am interested in creating a compelling work of abstract art with recognisable elements that engages the viewer, is endlessly absorbing and promotes a meaningful dialogue, putting the viewer in an atmosphere of remembering. Where the images can be seen as decorative, but also give an interest to move closer to see more details. I want the viewers to maybe recognize personal memories in my paintings.

The paintings may appear to refer to a typically Dadaist aesthetics, but at the same time they are purged of the Dada polemic force and iconoclastic fury. In fact, the paintings colour, cut-outs, symbols of a mysterious past, like of the present, slowly emerge on the surface in a continuum of summons and recovery, composing and compressing themselves into new formal structures capable of returning the memory of reasons and feelings, and emotionally closer to the Rauschenberg’s memory to aim for a particular text and image to have an underlying meaning.