We like to think that we each have a "story" to tell, a linear progression through life…but, what if there is no story? Or, what if our story is simply an invention; not a reflection of ‘truth’, but an arbitrary collection of shifting memories? What if the past is a dream and the future never arrives? How then do we know who we are?

Through my work I investigate these questions, poring over them, searching for meaning, some foundation in the ceaseless flux of life. Much of my art springs from a documentarian’s  impulse to systematize the messy ambiguity of reality, to give structure to chaos.  ‘Story’ implies narrative structure,  but I am actually more interested in subverting narrative form. These investigations take on different forms and are executed in a variety of media ranging from painting to installation and video.

I employ video footage as a basis for a series of paintings, as if I was able to ‘freeze’ time and make it solid. Through a process of digital interventions everyday life is objectified and distanced, mediated and strained, first through the lens and then through the painterly process. This process disrupts “natural” or linear perceptions of time and causality.

The typical solidity and singularity (and, by implication, authority) of the canvas is subverted, broken into a series of discrete units which seem to be, individually, enigmatic, but in the aggregate constitute a narrative.  How do we conceive of this narrative? By summing up all its particles? By focusing on its accumulated meaning? Or by meditating on its intervals of silence, on what is not shown?

(In)sights consists of ten paintings  that extend to the sides of the surfaces.  It depicts a group of people looking into the horizon of the sea.  These paintings seem to belong to the same scene and yet remain separate.  How do we look at these paintings? The question inevitably rises in the viewer: what are these people looking at?  In the painting where,  I employ the language of maps (paths, lines, territories) to describe and connote an inventory of activity and movement.   The value of activity and productivity is being questioned in the video Things (came) (and will) disappear, where a woman running along a path, compulsively carrying and moving different objects, eventually disappears into the landscape, along with her things. What is permanent? What remains behind? The installation (Un)still life presents a changing tableaux of images in which the traditional Still Life display of fruits and vegetables shifts, moves, decays and disintegrates…the narrative then loops, resurrects and recycles its own story.

We continue to make stories, and to use stories, because we need them to define ourselves, to serve as lenses through which we understand, conceive and create our lives. Without them, we would simply disappear.  In my work I am interested in making new stories with new rules.  New stories, new creations, new inventions, new lenses through which we look.