Drawings

(Until 2018)

Until 2018, drawing used to be my main focus within artistic practice. Inspired by the processes of making and unmaking meaning with images, drawing was my preferred tool for exploration and experimentation. From an empty paper, I’m fascinated by the (drawing) process of intuitively adding elements until the moment of sudden recognition of a scene or a fragment of one. Also, its counter, the slow subtraction or transformation of elements that shift an image to become something else.

If the image is a ‘ground’ of sorts, then the meanings and interpretations are what grows from it. I understand this as a relational process that requires someone(s) to activate the image of course. Some of the drawings in this projects take this idea as a departure point, with them I explore this ‘threshold’ of building meaning. On the other hand, the disintegration of the image, composting it so to say, looks at images from the possibility of growing a whole new meaning from the old images. With some of the drawings in this page you’ll find my attempts to explore drawing and image making with this perspective.

Eye-scapes (2016-2018)

With these drawings I intended exploring the extent of the transitional space between meaningless chaos and meaning making. A sort of primordial soup for image interpretation, where a myriad of images are possible and perhaps clarity is then impossible.

Going back to the ground analogy, these drawings attempt to assemble many of the needed qualities for meaning or interpretation to grow with the user. For this effect to take place, the image user should spend some time ‘reading’ the drawing. After one or two minutes, meanings should start taking root.

With this series I was particularly interested in the transformations of the image interpretation in relation to the passing of time and changes in conditions or even mood swings.

Shadowland (2017)

Here a sample of the work I did for the project Shadowland, 2017. The project, in the format of exhibition, was an exploration with drawing of forming images that would escape formal and abstract interpretations. Through making diverse polyptychs, montages and installations I was looking to outline the suggestiveness of images without becoming something specific, something like a flickering state of the image. The drive behind this body of work was to explore image interpretation by triggering sense-making mechanisms while constantly escaping to senseless abstraction.

Polyptych 15 (assembled according to the user/users)

Old Photos (2016)

This series is a playful exploration of shifting photographic images. The reference images are old photos, the oldest at something, like the first photographic documentation of a fatal air crash, the first photography of the moon, et cetera. My idea of working with historic photography was to play with what informs my interpretation of the images and the ambiguity of the image.

This work is derived from several projects I did before, between 2005 and 2009, where I worked with my family’s archive of photography in a similar way.

Landscapes (2015-2016)

For these drawings, I was driven by the image-making capacity of the eyes in contemplation. This series, in a way also explores landscapes as an open-ended combination between the material image and the completing work done by user or interpreter.