In my paintings, I reappropriate traditional techniques, reinterpreting them digitally. Highlighting our interaction with the evolution of photography, I interweave current and historical aspects, exhibiting how repetition and automation become the norm of how we keep our memories.
Echoing the printer, I use four colors: cyan, magenta, yellow and black. The black layer stands in for the grisaille underpainting. I then layer the other colors in an additive process, allowing for progress in one direction. The painting develops in the same manner as a print: left to right. The finished product hangs like a movie screen.
To understand a thing, we need its adverse or adjacent-other to compare it to. My paintings reside in a flux–romanticism overlapping modernity–in order to understand how the photo replaced the painting.
