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At this period I was more open to admit that my work continued the line of modernist tradition in terms of handling the pictorial surface and colour. Even though I was aware of being different by my emphasis on the process, I preferred to see my real contribution in the application of the ornamental line composition. I became infatuated with the study of the ornament: what it was; what contents it could be imbued with; the way it evolved and how it was used. It seems to be, above all, a general, repetitive pattern capturing the essential order underlying things and phenomena. It varies and develops, always spinning off into yet another repetitive pattern. Just as the arabesque, the ornament has no beginning and no end and, therefore, no centre. In Latin, ornare means both to adorn, and to honour.
1999 – 2000