Harmonic patterns determine the compositions of my works. These patterns are often inspired by the concepts of minimal music, which involves static harmony, and the constant transformation of tension into a stable state. Such concepts are manifested by specific arrangements of geometric shapes that consist of various materials such as paint, actual three dimensional pieces of wood and strands of string. How these components of different materials and colors interact with one another on the surface describe the harmonies created, giving each painting its own rhythm and presence.
I think of these harmonies as something generated in the intuitive process. I utilize the concept of consonance and dissonance in music. Initially I play with asymmetry, where the components of my works seem displaced and make the overall composition seem unbalanced. It is my objective as the artist to work until the patterns eventually reach a state of equilibrium. My paintings reflect the aspects of the minimalist movement in the 1960’s in blurring the lines between painting and sculpture, and the importance of accepting the work as its pure form.
Harmonies are intriguing to me because they create a relationship both physiologically and psychologically between entities, even those that seem impossible. I wanted to communicate this idea in a visual form. All the parts that make up the composition have their own identity, not only visually but also tactilely. The textures of the materials, such as the thickness of paint, hardness and solidity of the wood against the delicacy of the strands of string and collaged pieces of paper, although they are different, they complement one other and create a unified composition. All these aspects of different characteristics in my paintings act as metaphors that embody and reflect the harmonies created by simple elements that I encounter and interact with in everyday life. Subtle vibrations of objects, the sounds of peoples voices outside the window, the branches swinging against the wind, bulky rhythms of the engines of motorcycles, all these segments when confronted within a single space may be considered as noise, however, they eventually amalgamate into a low hum. I am also interested in generating a harmonious and intimate union with the work and the viewer, a relationship and the response that a person has with a certain inanimate object.