The current series of paintings is an attempt to capture the relationship between light and shadow, the named and the unnamed, consciousness and the unconscious. In searching for a way to achieve this effect, I work through the materiality of paint itself.

I am interested in whether it is possible to tell two stories simultaneously, and in the relationship between the visible narrative and the hidden one. I wonder whether the visual strategies I employ are capable of carrying this duality.

However, my focus is not on a Jungian attempt to understand how the unconscious influences consciousness through symbolic forms.

Rather, I am interested in the play between these two orders, their “dance.”

My attempts to understand Jung also raise another question: can consciousness and the unconscious be arranged into a particular order? Perhaps the interpretation I give them is a blind alley that merely fills the gaps left by memory.

At the same time, I am interested in the material dimension of the unconscious, painterly texture as a metaphor for a living body that wants to speak. Is the human body, my body, capable of naming the essence of things most accurately? Or does it further complicate our image of the emotional world?

A sharp sensation beneath the ribs wants to tell me something. Or perhaps it is merely a hypochondriacal artifact of consciousness.

What is the story of somatic symptoms and their conscious representation? Does the map of meanings offered by psychology exhaust the essence of the dialogue between these two orders?

The paintings in this series are not so much an attempt to answer these questions as they are an attempt to find a visual representation of the relationship between these different orders. A creative adventure in which the medium dominates the subject.