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For Immanuel Kant \u2018space exists either as specific, physical and material entity or as an abstract relation and non-material\u2019.<\/p>\n
According to Lefebvre space is a tool of thought and action.<\/p>\n
For David Harvey space is defined as absolute and relevant.<\/p>\n
For the artist his space is sacred, vital, ideal.<\/p>\n
My studio is a place of intellect and action, which fills me with freedom. I\u2018ve been a painter since a child. It\u2019s been a tireless relationship. In observing the world around me I\u2019ve always carefully distinguished the subtle relationships and connections of the little things, of the invisible. Details that exist in nature and connect us with it. My painting is triggered by plant complexes. From flower patterns to biological motifs, from the starry sky formations and the kinetic frequency of the waves to the branches of a tree, all these natural and organic forms that embrace life structure my painting imprint with aesthetic sensitivity.<\/p>\n
My painting at its core is abstract, imaginary and symbolic. I form a peculiar inner geometry, a peculiar personal Mandala. The design process evolves along with the random. I stand honestly before the unpredictable. I always start without a plan, without a compass. It is the journey, first of all, and then the map. I sketch what reflects my inner state. My multiform compositions are nothing more than bridges of communication of the visible world with the subconscious and mother nature.<\/p>\n
Improvised compositions, unexpected and fluid, emerge in the painting space. The evolution of an unknown form is fermented each time, unhooked by individual or collective memories. In a second reading I parallel the organic forms with the female body. In such a way that \u00a0the development of patterns, which start from a central core and spread circular in curved designs, are to be interpreted symbolically with the mystery of vital creation, such as life through the female womb.<\/p>\n
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The feminine shade in my works is obvious.<\/p>\n
In a way, I leave the deep of my influences from the work of Georgia O\u2019Keeffe, Beatrice Milhazes, Helen Frankenthaler and Fiona Rae to be revealed freely. My questionable and uncertain attitude towards ideas, things and materials is the way I experience, every time, a new painting experience.<\/p>\n
\u2018WHAT I LOVE IS ALWAYS IN ITS BEGINNING\u2019 the poet writes!<\/p>\n
Every start is a risk!<\/p>\n
Experimenting with materials has been around since my years of study. It has always given me expressive, almost liberating, solutions.<\/p>\n
Paper as a painting surface, is not only a recent design but also an experience.<\/p>\n
The varied expressiveness on it is extremely interesting.<\/p>\n
The cotton paper wants respect, diligence, care, time.<\/p>\n
Another version of this material medium is its sculptural dimension.<\/p>\n
My sculptural compositions from paper are another artistic search.<\/p>\n
Elaborate folds take place in 3D space, in a way that they acquire physical existence. Shape-symbols emerge, which convey information and become content carriers.<\/p>\n
In a way, I envision my own imaginary nature, depicting the beauty of opposition as well as the relations of things, where everything coexists harmoniously in one cosmic order, where each element contains the essence of the other. It is my personal psychic reality at the service of the All.<\/p>\n
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