He says: The process which underlies the creation of my paintings ensues from the aesthetics of the mark. The creation occurs in two stages. One of them is entirely manageable, the other one stems from a far-reaching game of chance. It's this very game of chance, which gives shape to the background texture, which looks like time reflecting marks. It's a way of hiding and covering up in order to develop signs bearing an ambiguity between their function as a meaning vehicle and their status as illegible signs.
Two canvases are glued together then with a tearing off process, one of them remains while the other is pulled out. The remaining canvas bears the marks of it's torn off twin and becomes its reflection. The pulling out of the Matter is a metaphor for the tearing off from the original culture space.
The Matter bears the marks of a human process, an emotional approach to History and a search of origins. The Matter becomes a means of expression because it constitutes the infrastructure of the relationship between human beings and culture, lived history and memory. The painting's space is a limited surface, which becomes a territory which inner and outer parts imply a reference to the architectural elements surrounding our daily life. Walls, doors, windows become the metaphor of a painting in search of a fundamental unity.
