Untitled (St. John)

Materiality and the Surface of Perception

Created in 2009, this work explores the tension between physical substance and visual illusion. The artist begins with a canvas primed in grey, a neutral base designed to strip away preconceived notions of color harmony. Upon this foundation, thick layers of paint are applied with a spatula, creating undulating textures that mimic geological formations or weathered landscapes. These heavy, sculptural strokes do not aim to depict a specific scene but instead evoke a sense of vastness and solitude through their sheer physical presence.

The process involves a complex layering of materials that challenges the viewer's ability to distinguish between what is seen and what is felt. The technique includes:

This method creates a dialogue between the material and the illusory. When the gauze is removed, the resulting surface is a complex topography of ridges and valleys, revealing a hidden depth beneath the silvered sheen.

Symbolism and the Shadow of Iconography

Within the textured landscape, a hooded figure emerges, bearing a resemblance to Saint John the Baptist. This choice of imagery invokes themes of repentance and purification, yet the depiction remains deliberately ambiguous. The figure does not rely on narrative clarity but on emotional resonance. In the figure's hand, a smooth, dark stone is held, a symbol of stability and connection to the earth. This juxtaposition of the spiritual icon with the heavy, tactile reality of the stone invites a contemplation of the subconscious and the existential.

The work exists in a space between abstraction and representation. Subtle hints of red, yellow, and blue emerge from beneath the grey and silver, appearing like light shifting across a surface. It is a meditation on how sensory experience shapes our understanding of the world, offering a glimpse into the depths of human consciousness through the language of texture and light.