The paintings reflect the everchanging landscape of human emotions. Described by the language of colour and an instinctive approach, the works contain a deep sensuality. The paintings become meditations, vessels of an motional life reflecting the profound travels of a heart and mind. A subtle moment of awakening is expressed with paint, like the moments when the fragments of a dream of blue disappears gradually into the light of day. I invite viewers in by eaking through the flat surface of the canvas using different materials to create complicated layers. Colour is used to stimulate emotional balance or imbalance. It opens channels to the depths of the psyche; it can be a healing process for both the artist and viewer. My paintings are like friends, often subversive, disturbing, soothing, or contemplative. ithout knowing why, I choose bright vibrant colours, perhaps, as a protest to the greyness of the weather, perhaps, in response to a yellow cottage or a bright door. All the shapes are influenced by architectural drawings. Recent pieces reveal old photographs inbedded imperceptibly into the painting. Composition is important. Any chaos in the painting has a purpose. I am trying to find perfection with technique, and how the picture is made is as important as what it is in it. Subliminal influences could be the passage of time or a nod to Russian avantgarde. The layers draw you pnotically into the painting. Each colour and every shape is carefully thought out. I contemplate a long time before I add a line or shape. If you were to change one colour or remove one shape the painting would lose its balance. When I approach the easel, I already know the colours I will use whether black and or red or blue and red. The frame is never crowded. I am subliminally searching for perfect harmony

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