The human form serves as the primary subject for my paintings, receiving and reflecting a thought-process partly rooted in Expressionism, in individual and symbolic imagery.

As in the "Figuration-Libre" painting movement, which came into being as a reaction to the over-rationalism of conceptual art, I am drawn to using vigorous and narrative pictorial language in which I combine elements from traditional and archaic artforms with modern references to daily life and subculture, arriving at an ironic critical social and cultural imagery.

Feeling, emotion and spontaneity are more important to me than perfection, reason, and regimentation.

The style of presentation is abstract-figurative.

I place particular emphasis on colour in my painting, the composition of color and the structure of the background.

I aim for strong contrasts of unsullied purity of the colours-by-themselves, further strengthened by the use of thin color glazes to achieve the strongest possible luminosity reflected from a pure white ground.

Suggestive spatial perspectives and temperature sensations

arise from the use of cold/warm color contrasts. Complementary colors reinforce each other's luminosity.

A quantitative contrast, using different-sized color surfaces in combination with contrasting materials such as silk, aged wood, unfired clay, bamboo, burlap, matt- and glossy coats of paint, generate maximum optical tension in the overall concept.

Resulting in a forceful and decisive artwork.