Testing as a way to unblock, to not have control over the materials and its solutions.
Transfer and ink on paper, 9 by 12in. 2025
BOE / Contemplative work
The work occurs in the interval between actions. The material bears witness to and gives substance of the inner development, unfolding, and perceptions. That's all. Without pause and contemplation, the work suffocates in the chaos of doing without experiencing the silence that provokes it.
Exploring Joomchi with Xuan Paper
I have been painting with ink on Xuan paper for some time now. Xuan paper is a traditional rice paper used especially for Chinese calligraphy and painting. I use different Xuan papers, from raw to semi-raw alternating as I need. Each variety has a different strength, texture, and ability to absorb water, which allows me to apply layers and rework them without breaking them.
A couple of weeks ago, I came across the Korean technique of joomchi which uses mulberry paper. Joomchi is made by layering no less than four layers of mulberry paper, each layer “glued” with water and then kneading them together to form a cloth-like paper.
I made mine with four already painted rice papers to see what would happen. The fibers are too short and the paper tore easily during the kneading process. Still, I really like the transparency and quality of the new surface. At the end I added some stitches to reinforce the torn areas and to play with the lines.
Thin
Thin, 2024. Ink on paper, 50 by 13.5 in.
At the end of a year that began with small-format quick paintings, I end up with large-format inks that took around a month each.
The natural return to ovals is refreshing while the questions remain and deepen. Am I the painter or are the ovals creating themselves the work? And if so, how well I am serving it.
The other side
in Painting
This painting took a long time to find the spot. These land-like paintings continue to puzzle me. In vain I put up a resistance that appears weak against the inner force.
I focus on the quality of the material as a way to talk about it, and express what is wordless. Yes, the paint is beautiful, the way it moves, dries, and behaves, it takes away the head to alternative realities to immerse the heart in what is. And that's it. Painting breathing me.
Casein on paper, 9 by 12 in. 2024. On view now at het Labo Brooklyn.