I am challenging the idea of ‘static beauty’. I believe that, in certain aspects, a successful painting is still held hostage by conservative views of classic beauty, similarly to how the content on the other side of the spectrum, the common imagery, appears in the captivity of our norms. I often think of my subjects as aesthetic accidents, the improbable chorus of the unexpected ingredient. Not to say randomly generated components, rather an addition, and therefore revaluation, of the common iconography.

Humour is an element that is very important to me. With a similar reciprocal relation to seriousness and tragedy as the abstract has to the figurative, humour becomes quite complicated and intriguing. The gravity embedded in laughter reveals itself if the circumstances are optimal. So, my work demands its viewer’s receptiveness.

However, my creative process is primarily intuitive. I tend to be naturally attracted to the details that lay emphasis on absurdities; hence unsurprisingly the inclusion of humorous elements in my work. Both bizarre and baroque, I think my paintings are bordering on failure even though they often are thoughtfully composed. I am always looking for a certain atmosphere for my grotesque cliff-hangers. Sometimes cute things can be so overwhelmingly cute and sweet that it disgusts you, just like too much cake can do. It is along this border I tend to travel with the constant risk of tipping over and becoming grotesque. At times my subjects develop into the somewhat surreal and their shapes metamorphoses into something else. For instance, a bird that becomes a heart and then back again.