"For beauty is nothing but the beginning of terror which we are barely able to endure, and it amazes us so, because it serenely disdains to destroy us. Every angel is terrible." Rainer Maria Rilke.
My work emerges from a hypersensitivity to the beauty of the female figure, as an attempt to preserve its essence. Being a highly aesthetic work, and born viscerally, it responds to a need for calming an obsession - a strategy for operating as a “civilized Jean-Baptiste Grenouille,” and a vehicle through which I communicate. My ability to express emotions and concepts is directly proportional to my ability to translate them into the skin of the women I draw.
Woman - her face, her beauty - is treated superficially throughout the history of humanity, her figure exalted and admired like a porcelain vase. My drawing demonstrates delicacy, strength, sensuality or fragility as a value in itself; as a canvas in which all realms, both sensorial and intellectual, manifest my only way of seeing and making sense of the world - through a woman.
Images and ideas need contrast, and by drawing in black and white my visual language is confined to shadow and light. Conceptual contrasts are furthered by subject matter and aesthetic contradictions, expressed in two levels of reading: pencil lines that show beauty and hide fragility, fear, ephemeron, sensuality, and tattoo lines, coursing through the skin of the figure and revealing what its beauty hides.
My creative process begins with simple, easy lines of pencil or pen, or clay modeling, that continuously take shape until they become a female figure. My inspiration and work tools have created a world of urban and contemporary women, living between the roughness of their tattoos and the finesse of their elegant outlines. These lines draw women in black and white, and evolve into colors that cover their skin, conveying sensations that range from seduction to obsession - tattoos that stand out with color amidst white, delicate bodies invoking emptiness.