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Artist Statement

To create the visual art that I do, I have absolutely no need to understand it through verbal or written language. Over the past decade, I have observed that my art is perceived as abstract by others, which has led me to delve into research and explanations in an attempt to clarify its essence.

It is important to note that I am stepping into unfamiliar territory with this intellectual pursuit, and I humbly request your understanding. 

Visual art is a powerful form of communication on its own and should not require my defense under normal circumstances. However, I feel the need to defend it because it is being judged as an abstract work, even though it is not, and it cannot encompass all the qualities that define an abstract work of art.

As a generalization abstract art is understood as a picture, this is a substance.

Languages, much like life itself, are constructed to enable us to comprehend our own existence. The mechanism of language is built into the human brain; thus the basic structures of language are a part of our biological inheritance. I am working with a specific type of our perception to unlock an entire visual world. 

I believe that consciousness serves as a catalyst, allowing perception to emerge from unconventional sources, defying the limitations of our sensory experiences. 

Creative action possesses an intrinsic vitality and its behavior in the present moment resembles chaos. It engages in a visual dialogue akin to receptive listening. The action is not so much about what you are looking at, but rather on where you are looking from. This meditative approach serves as what would conventionally be referred to as my subject matter. The proverbial ‘struggle’ could happen at this crucial juncture, the moment for allowing the heart, spirit and soul a voice.

The process of creation is inherently intertwined with the essence of the final outcome. Therefore, theoretically speaking, when I paint the meditative action liberates from the constraints of ego and expectation. This act of surrender becomes an act of true seeing.

I am using the phenomenon of pareidolia alongside other optical illusions like implied motion, foreshortening, compositional structures, optical vibrations of simultaneous contrast, anamorphic illusions,and various other elements some of which I may have personally developed, such as conglomerates, wrapping, and calling.

Similar to artists like Jackson Pollock and Gerhard Richter, I create a random and nebulous surface in my creative process. However, I differentiate my approach by creating within this surface a subtle layering of structural interconnected compositions.

It uses the expression of movement as a disruptive strategy to decentralise patterns as well as to link and construct form.

It places points or areas of extreme depth next to areas of foreground in a way that allows your perception to switch the two extremes, so that it ‘bounces’ or opens up space and forms in a number of ways.

It embraces the essence of surrealist art, which often aims to unveil concealed aspects of the psyche and the world. The difference in this expression is that it shifts the experience of the art image into the creativity of the viewer, allowing them to evolve their own way of seeing. A dynamic between artwork and viewer is formed that is quite intimate. I refer to this as a relationship because the artwork holds the imagery of your personal experiences.


I have a strong interest in the visions experience, a profound connection between perception and comprehension, where the mind forms a holistic understanding in a moment.  

It is specifically designed to be lived with as seeing a specific pattern or image can be influenced by the context in which it is presented, allowing illusions, visions, hallucinations, memories, fantasies, insights, and images to be experienced repeatedly depending on your state of being and how the artwork alters in changing light.

This shift in perception involves a process of "letting be," where you are not trying to interpret what you see, but rather allowing the artwork to reveal itself to you. We don't passively perceive the world, we actively generate it. Your brain is coming up with the best guess of what is actually there.

The appearance of the artwork is deliberate, aiming to incorporate a wide range of color wavelengths, diverse forms, intricate marks, varying tones, and more. This approach is intended to gather and convey a wealth of information within the artwork, drawing a parallel to the importance of preserving diversity on our planet. 

Initially the painting's complexity can be overwhelming.

Interestingly, after spending approximately thirty minutes observing the painting, a sense of calm and tranquility begins to emerge. I believe this has something to do with its makeup that mimics the fractal patterns we find in forests and the natural environment.

In an intriguing manner, this artistic representation mirrors the insights of neuroscientists, philosophers, spiritual teachers, and others regarding our perception of reality. It embodies the understanding that our experience of reality can be considered an illusion, a construct, or a user interface. Scientifically, it is acknowledged that our perception has evolved based on the fitness principle rather than being an accurate reflection of objective truth.

The painting and your perception engage in a natural dialogue that is effortless and relaxed. This happens because of our innate visual need to make sense of the world.

This expression seeks to awaken and expand this primal form of sensory perception, contributing to the development of the foundational elements of this evolving language that embraces aspects of a psychotechnology. Specifically, it encourages active engagement and participation from the user, leading to reduced anxiety, improved memory, and enhanced creativity. 

The function of this expression shares parallels with Gestalt therapy and art therapy as it helps you explore your perceptions and the ways in which they interpret sensory information. This can help individuals to develop a greater awareness of their own mental processes and gain new insights into themselves and their behaviors.

By observing the ways in which illusions can distort our perceptions of reality, mindfulness practitioners can gain insight into the ways in which their own thoughts and emotions may be distorting their perceptions of the world.

In alignment with the principles of modern science and quantum dynamics, this artwork acknowledges the inseparable involvement of the observer in the act of observation.

This artistic expression serves as a reintroduction and more acceptable way to the transformative power of shamanic art, akin to the ancient cave paintings depicting spirit animals as a way to embody them in a spiritual sense. It creates a space where our primal instincts can find relevance and resonance in a contemporary context.

I believe I have provided sufficient information to distinguish my work from abstract art. During my research, I came across an intriguing aspect: Cubism was purportedly influenced by stop motion photography and film, with the aim of capturing a visual truth by presenting multiple perspectives of reality. In today's context, we have virtual reality constructing an alternate world, much like this artistic expression. Additionally, due to pareidolia, there exists a connection to image recognition technology.

The creative urge is intrinsic to human nature, residing within each and every one of us. We can use this powerful gift for deepening moments in our lives and foster increased receptiveness to new insights. Fundamentally, my art invites viewers to delve into the multifaceted nature of consciousness, perception, and the human experience. It is an exploration of letting go, a celebration of the convergence of imagination and knowledge, and a recognition of the intricate dance between illusion and reality. 

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