The project’s principle is about spaces within spaces, about layers of occupancy, beginning with the household, but piling up to breach reality, towards levels even more hidden and personal.

The artworks imply pushing, sliding, flipping over as preconditioning actions for a fresh experimentation of the image. The gallery undergoes a make-over. It is important that the windows are blocked and the entire space, apart from the ceiling and the door, is carpeted. I want to take advantage of the acoustic insulation and of the sensation given by the soft material, which emphasizes the tactility. One can touch the artworks, but also the walls and the floor, without experiencing any resistance, and then one can apprehend everything as a whole, and oneself as a part of it. The challenge is to insure a thinking zone, in which the choice to contemplate should be an adjacent option with the one to relax.

The optional, the multiple choices, is an essential concept for me. I count on the situation in which, faced with multiple choices, the viewer will refuse to choose altogether and will spontaneously turn to a solution of his own, completely new, impossible for me, as an artist, to infer. I believe that directing such scenarios should be simple and should not single-minded target a pre-conceived notion of success. Most clarifying in this aspect is, for me, the object inspired by the ottoman chair. It does not come with any instructions on how it should be viewed, used or modify, but it ambiguously creates some options in these directions. It draws attention more on the next possibilities, than on itself, as finality. Alongside with the selection of images, the construction of this type of object around a painting is a method to avoid the modernist formula in which art was an end in itself and a proof of artist’s superiority over his public.

In today’s context, painting is difficult to support with an honest statement, because it unfolds, more as any other medium, obvious traits anchored into the past.  But painting carries on, as a conceptualized medium. In this form, it brings forward the longest relationship with the viewer, which reached levels that today seems to me extremely sensitive - as with the medieval custom to include an exchange of portraits when deciding upon a marriage between partners unable to travel to see each other’s faces. Romanticisation aside, the act of painting remains the artistic act easiest to recognize by the general public and the necessary time to reconstruct an image with the means of painting, a time with a conceptual charge that, for me, is very important. As an artist I try to keep myself in a permanent state of doubt that prevents me from taking a definitive decision. An image means nothing to me until I start to paint it, and the very fact that I paint is the validation of my questionable choice.  The possibility to make an effort similar with my effort to paint, hence to have access to an equal validation/ reward is also given to the viewer, especially by the installation with swings. The role of physical effort does not have to be exhausting, but reaffirming. After some years of practice, painting comes easy for me now and I want the viewer to experiment a similar easiness. Playing is the only physical effort engaging which we all took training courses