The photomontages, made over the past six years, incorporate both figural and painterly surfaces in ink-painted gestures, inviting the viewer to a narrative reading. The photographs of newspapers, mostly published in the 1970s, have been taken out of their original textual context, and as a result the contextual systems have been rearranged, each detail taking on a different meaning by leaving its previous context and moving into a new position.
I consider the loosely connected sequences to be the surfaces that capture some essential element of the reality that surrounds us. The images created are both a kind of construction of order and an entry into an intense time. In my work I have developed a strong connection with the times that the images were originally about, a constant sense of mixing with the present time around me has been associated with the making of the collages.
With this series, which creates a specific visual world (opening up spaces in many directions, moving them), I would like us to think together about the concept of REALITY, the mutual receptivity of our subjective realities, the certainty or uncertainty of our visual perception, that is, its mutability, its infinite multiplicity.