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The cycle was conceived as delineating lines with a surrounding red surface, a memory of lines and fragments of ornaments, their imprint in the mind. I did not paint the lines but created only painted surfaces uncut by lines and ornaments. I was also thinking of Matisse and his paintings evoking Polynesia and Oceania, and the ancient approach of the artists in Crete where, in contrast to Greece, everything seems to hover in the air depicting only a mere existence, refraining from the performance and drama of a battle. It is a world of gardens intended for exaltation, tranquillity and meditation, a world I sometimes yearn for and feel an affinity with.
When being painted or observed from up close, the surfaces of the paintings, in which the left-out simple ornamental lines cross, break down into a multitude of tiny red fragments. One needs to step back for the left-out lines and the arrangement of the red surface structure to be revealed. This dual interpretation remains an inherent attribute of the paintings.
2001 – 2003