What fascinates me is looking at a look. We usually do not expect a drawing to look at us. It is something that might happen, or might not or never happen. there are many occasions when you look at painting, in which you are involved in a specific way. This involvement concerns you and what you are giving back to it.
Rejecting previous lines of work, re-thinking tradition and “what was done before”, is always present in the artist’s practice. The moments the artist applies paint and the ones when he observes the painted surface succeed each other continuously, revealing long periods of intensive work. In this process a special moment occurs when the artist stops and doesn’t continue working, simply because going on would no longer make sense. This manifests itself in the way the paint drips, but other factors such as the fluidity of the paints/colours, its juxtaposition or the form and fragmentation of the support and its display are also crucial.
in the end, a work is looked at as if the painter is no longer a painter, having transformed himself in nothing more than a spectator. It is finished when I think that the dilemmas are resolved, and above all when there is something that maintains the challenge of a proposal. A work is not neutral when we place ourselves in the situation of the spectator: it raises questions, doubts and reflections.
