The first perception, sensual, catches the most important signals only. It is put on the picture like a filter which, somehow, causes a natural hindrance to a precise look, like, in the case of video works, low picture resolution during a mobile phone recording. The imperfection of the pixilated picture is becoming an integral part of the work.
The second stage is form, usually figure, literal or conventional. Form has the function of the picture’s main informational medium. By cutting out, it gives a definite and specific shape. It is a sort of reality encoding which systematizes the world perception. Defining the shape means constantly making irreversible decisions. Major forms consist of minor forms, components being gathered, cut out and photographed just by the way, without any specific aim until they are placed in a new context. A detail consists of specific forms, definite and complete. Detailed seeing precisely sets the boundaries of the object appearance. Objects begin to interact, meet one another. They exist in a private space, although they possess a meaningful social context. The kind of contour, the level of plastic complexity are important elements of a new form. The ultimate shape comes into existence from a synthesis of these elements. Gathering this type of cells has an autobiographical character, anyway in this condition it could not be different.
Another important ingredient of a picture is space. It is space that enables objects to exist. It extracts and emphasizes their essence. The accumulation of forms happens in a place defined laconically, but specifically. This place is named precisely and always refers to reality.
A moment comes in which painting ceases to suffice. A still, mute picture begins to pulsate with an excess of meanings. A camera gives a chance to complement objects with a timeline and a succession of facts. I like its naturalness and the authenticity of looking, which allow us to intensify everyday observations.
Actually, I always try to depict the same thing. Persistently, I repeat the same situations, focusing on another kind of saturation. This Cézanne-like attempt to see things from many perspectives at the same time keeps coming back like the rhythm of an unbearably remembered song.