I perceive the world as a network of entities clustered in groups, that maintain a dynamic and endless set of connections one with the other, as well as among themselves. The diversity of these connections, offering a multitude of possibilities, fascinates and motivates me to engage in drawing – a medium which I use both as a research and writing tool. In my work I focus on aspects concerning the array of relations, or affinities, between me and my surroundings, and through a set of lines and forms I constantly recheck their various manifestations within the imagined space sprawled between me and the rest of the world – whether as combinations, interfaces or relations.

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In a similar manner to experimental weaving, a medium which I have engaged in before, the course of my current work comprise a number of stages: putting together and breaking down, constructing and destructing, adding and subtracting, getting away from and back to the work – stages which repeat themselves periodically as time passes by. Each work begins as an act of drawing that stems from an intuitive, primal place and expressed through irrational filters of order, rhythm and suspense, thus allowing me to express my relationship with the thing I wish to depict upon the paper, in a direct and unmediated manner. Later on, each selection carries a great deal of flexibility for making changes, which I study and apply as the creative process moves forward. Nevertheless, and though there are times the drawing may seem as if it is just a moment before totally falling apart, the element of precision is essential for its being and lies in the core of my current work (as it was in weaving), and whom without the drawing becomes a meaningless chaos.

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Some of the works go out of the flat platform into the three dimensional space, expanding the drawing towards an installation, including a group of works which blurs the definitions and boundaries between the concrete and the conceptual. These artworks bring together an abstract drawing and a readymade object which is gradually reduced to its basic shape and then becomes one with the initial drawing. Either way, the result is that lines, forms and sometimes matter, merge into an entirety of meanings which tells a story with a beginning and an end. It is a visual image of an inner occurrence, constructed layer upon layer as in the life around it, and that is rather be seen as an anthology of selections examined over the axis of time in terms of a cumulative value, a memory or traces