Within my practice, I am fascinated with these questions:
To what extent can I expand a medium?
What practical and aesthetical knowledge do the borderlines between mediums bring?
What happens if I explore an applied printing technology not as a tool to deliver a message or design, but as an expressive means by itself?
The technology I currently work with is screen printing. I explore the borderlines of mediums with several strategies. Firstly, I focus on the printing process, limiting screen printing within itself, its materiality and specifics. Here I let the technology lead the process. Secondly, I hybridize it with other mediums, adding traditional painting supports, glazing, offset ink etc. Screens have become my “brushes”. The quality of surfaces and the touch between the paint and its support are significant to me. Thirdly, I play with the results of my work. Sometimes I transform printed graphics into fragile “sculptures”, or, rather, prints-in-space.
Seriality, repetition and time are essentials in printing. In some aspects. Meanwhile, all my prints are unique and intrinsically unreproducible. The material non-digital nature of my practice is important to me.
The outcomes I produce result mostly in abstraction, which initially has no other meaning than what it is by itself. It contains no symbolism or narration, just a trace of a printing squeegee. Nevertheless, as plane visual shapes on the surfaces have a profound tradition, some of my abstractions occasionally fall into established visual tropes. I find it fascinating, that some shapes made accidentally invoke stronger symbolic associations, while others remain formal shapes. This means that the expressive potential of the medium is not only technical or material but social and historical as well. Thus I explore the very notion of medium and its mechanisms.
