Statement
The work I make questions the consumption and apprehension of space through painting, sculpture and installations.

Large pictorial panels become sculptural interventions within the volume of a particular space. The support for the paintings, aluminum sheets, are presented as free standing stark curved shards or as flat windows suspended from the wall. The imagery is entirely abstract within the sculptural form. It aims to take the viewer into an infinite whirlwind of rich, monochromatic colour. The metal disperses light and diverts the viewer's attention throughout the interior, placing them in a situation of questioning the nature of the work, experiencing the object both in its actual space and the illusory space that has been created.

The object moves away from the traditional refuge of painting; the wall itself, general placement, height, shadow and other relational areas, as it engages with the spatiality of corner, edge, floor and ceiling. Obscurity, uncertainty, vastness, color saturation and light entice the viewer into the experience of the paradox of this new sublime space.

Sculptures investigate the interrelation between light and space. The components of the work, copper and brass are transformed through the use of acids changing their initial apparent nature, intricate geometrical forms are superposed creating monolithic like standing figures. Erected before the viewer, their complex shapes unravels the reflective space they detain. The viewers moves between surface and illusions of spaces conducted by the highly rhythm sequence of zigzag waving from side to side, The vision travels between light and dark, the conscious and unconscious, the real and imaginary. Pure lines and shapes are contrasted with the luscious and glistening choice of material combining both elements from minimalism and the highly baroque.

The latest work consists of installations, combing painting, sculpture and sound. The work explores through the representation of light, space, time and the auditory the interrelationships all of the senses. Sounds are added to static images inducing the perceiver to wonder in the imaginary space that is depicted. Movement of the inert object is enhanced on large-scale aluminum environments as light is caught in the grain of it s surface animating the space the viewer enters. The choice of material and their identity within the context in which they are presented plays a major role. Whether support or artwork, their ambivalent nature investigates the ideas of importance and fragility and the reduction towards essence and absence.

The work sits between the Romantic tradition of historical painting and the experiential, unformed elements found in Minimalism. The ambiguous space and surface sparked from seeing the work of the early pioneers of Spatialismo; the pierced canvases of Lucio Fontana and the inner and outer spatial investigations of Luciano Fabro.