Flower
| Edition | Original Art |
|---|---|
| Technique | Installation |
| Height | 100 cm |
| Width | 70 cm |
Description
Material: Papercut (scalpel on paper, two sheets)
As an artist, I am interested in marking, repetition and transparency. The marks I create with the scalpel are neither aggressive nor coarse. On the contrary, they are elegant, delicate and subtle in such a way that the concept might be perceived by the viewer’s subconscious whilst interacting with the piece.
The marks complement and coexist harmoniously with one another, in a balanced sequence achieved through repetition. Through them, my work becomes transparent in many respects, both literally and figuratively. When my piece is hung, light and air flow smoothly, freely and unhindered through it. The viewer’s eye encounters no obstacles and they can see the piece as a ‘whole’, regardless of whether they stand in front of, behind or to the side of it.
My work contains no hidden or complicated messages, nor does it aim to confuse or challenge the viewer’s eyes, feelings or thoughts. Instead, its purpose is to bring feelings of harmony, contentment and joy to the surface, and to remind people of the essence of ‘beauty’ and its effects on the mind, heart and soul.
The colour white in my work is semantic. I find white – the convergence of all colours into a single colour – monumental, cosmogenic. You need a white surface to bring out all colours, and a surface needs all colours to become white. White carries the life energy of all colours and is, at the same time, the definition of ‘tabula rasa’. It represents everything and nothing. For me, it represents purity. It also represents the ‘Whole’. In white, I see an infinite cycle of nothingness, order and rebirth. It evokes for me the idea of sterilisation and death.