I understand painting as the act of connecting different relationships between the gaps of language

I paint, but I don’t emphasise my painterly consciousness, I don’t indulge in the myth of the language of the medium, which is a bit of a contradiction, I understand painting as an art form.

The “language of painting” is sometimes put on a painter’s head like a straitjacket, which is somewhat unnecessary. But in my understanding, the linguistic state of painting is spontaneous in action, simply put, it happens whenever you are painting.

So I’m more interested in looking at installations or sculptural artists, or photographic images or whatever, and I look at the understanding of the art rather than the language.

I often look at paintings that are not aesthetic, but of course aesthetics is the basis, and then I will intentionally feel what kind of trade-offs and judgments the painter has made in the language in the painting, and in fact I can feel the painter’s thoughts and emotions in the picture, if there are any.

The watercolours in the Mindroom series, I call them a series because they are developed within the framework of the title concept “Mindroom”, and the method is clear: to make a fake space, a collage of visual elements like a landscape.

It was easy for me because I was working from a God’s point of view, not face to face with the canvas as in oil painting.

For works on paper I sit and paint, for oil paintings I stand. Sitting facilitates the production of the image, while standing facilitates the movement of the arm, and it is a very different feeling to face a frame that is as thick and voluminous as my body.

I have been using the image as a scaffold for structuring the picture in my painting work in recent years, changing the contours of the image and the way it is structured through a number of interventions to achieve the power and intensity I want to give to the vision.

I try to describe the image as clearly and straightforwardly as possible, trying to move beyond the tangle of imagination to a more direct, or more plausible, intuition.

The painter is both the creator and the viewer in the work, dealing with the relationship between the flow of sensation and the specific image between the in and out iterations.

Painting is pure form, and content is the potential for meaning that form possesses. Through viewing, the viewer participates in the production and construction of meaning in sensation, and in so doing performs the identity of the creator.

I thus understand painting as the act of connecting different relationships between the gaps of language. The creation of paintings based on everyday experience, with the body as the axis, can be trusted as a transcendent form of existence.