ETHER, 2023

Each painting in this series embodies contradiction through a cyclical process of creation and destruction. The works are deeply influenced by female artists like Agnes Martin, Eva Hesse, Pat Steir, and Margaret Shirley, who employed similar methodologies. The techniques of Gerhard Richter, James Lavadour, and Stephen Hayes in building surfaces and manipulating pigment have been particularly inspiring, as have the drawings of Wes Mills, DE May, and Veja Celmins.

The process begins with a printed image behind glass, which serves as an anchor. This surface is then systematically destroyed with acid, followed by the application and erasure of thin layers of paint and text. This cycle repeats until the painting is deemed complete.

To provide structure, I predetermined the arrangement of text lines and the number of layers and colors to be used. This approach paradoxically allowed for greater artistic freedom within constraints.

These works continue my exploration of the unknown through pigment. They aim to evoke distinct feelings in viewers, reflecting the unseen[1]. By focusing solely on the action itself, which is then negated, I create an interplay between action and inaction, color and its absence, noise and silence.

The series draws inspiration from various sources, including art history, poetry, and theology. Gerhard Richter's Grey Paintings, Agnes Martin's Desert Works, and the stained glass windows of Chartres Cathedral have been particularly influential. The poetry of Paul Celan, with its ability to articulate the unspoken, has also shaped my artistic vision.

Hindu philosophy's emphasis on vibration and light manifested through body and gesture plays a significant role in my work, with the mark becoming the enduring trace left behind. Ultimately, these paintings aim to provoke moments of contemplation and evoke a sense of love, which I believe is the binding force in our experiences.