I build layers of oil paint on wooden boards using a spatula, but
I also use the spatula to erase those layers immediately after applying them. By repeated construction and destruction operations, I create an illusion of a three-dimensional texture. And so out of this dialectic between creation and destruction, or remembrance and obscurity, grows an image, but it will never be the planned image. This technique recreates the same motif exemplified in the work with the trees, a dialogue between destruction and construction, transience and permanence.
The first five paintings in the gallery are images from Bella Tar's wonderful and unique film "The Turin Horse" - in spectacular, outstanding and depressing aesthetic, the film shows the death process of an old mare and the miserable life around it. My attraction for Tarr's film probably echoes the attraction of working with the DeadWoods. I find that one quote from a film review in the New York Times is relevant to the work with the DeadWoods: "The rigors of life can grind you down. The rigor of art can have the opposite effect".