I am strongly influenced by the minimalist approach within my art practice. My main interest was to explore the non-idealistic way of presentation, which has a positive relationship to the physical presence of the viewer, and should reach its full potential through a process of analysis.
Due to my experiences and social background, I am interested in creating moments of “displacement”. My approach of creating these moments are: Contradictory logic, paradoxes and broken narratives. I was always interested how certain chances or choices have effect on our life.

I am trying to create an “unknown” space, irrational, illogical for us using architectural elements stairs, ladders and openings leading nowhere. These spaces as well as the objects are presented are confusing we cannot relate to them in any ordinary sense. These sculptures are made to human scale; objects connecting to the main piece are made in different scale suggesting an environment, which is alien for us. I am using these architectural elements (which is not studied for itself), only as a tool or vehicle for the sculpture. This is also to be achieved through playing with relation and scale between the forms.
I am trying to suggest many different ways of looking at these pieces. Some of them are the reminder of furniture, model or a structure. The broken narratives presented in my work can lead to various interpretation of a sequence of events. The theatrical importance achieved by lighting adds another edge to the work, this combined with mirror images, which introduces more illusionistic values. I am using illusion in a different context. This relates more to how illusion influences space itself. This method is not intended for visual trickery, but is mainly used as a tool to manipulate space, which then introduces another dimension to the three dimensional pieces. These mirror images, reflected objects are corporal and at the same time, they are weightless. They only exist optically, which suggests a dualistic existence. The illusionist arrangements are able to stretch the viewer’s analytical processes and take them into an unknown realization. By stretching a solid object into a space by its mirror image, it gives the object an anti gravity status and appearance. Therefore, fractions of the sculpture experienced in a different way, and not experienced as a real object.
I am trying to raise an enquiry between the object and the viewer offering various explanations and various outcomes. This arrangement offers a diverse interpretation for the observer on a different level of consciousness.
I find any artwork very interesting, which works on a different level of understanding complex and multi-layered.

I believe that using an enquiry that is complex and multi-layered, between the object and the viewer, generates transference between certain thoughts and ideas that creates a silence, or I call it a gap-betweeness. This place-gap can be created by confusion and broken narratives, or questioning the question. For me this creates a contemplative space emptiness similar to meditation, the silence between thoughts between one ideas transferring to another. For the viewer these broken narratives and confusion offers a possibility to contemplate, and to assemble a puzzle of thoughts, reflecting back into their own experiences in life. I believe looking at an artwork is a reflection of our self; it can unconsciously activate different interpretations of the work based on our level understanding, and experiences. Sometimes we cannot relate to the work because we have never experienced certain things in life but the same time makes us wonder and generates a new sensation that is new for us.

When I look at the concept or process of my creation, looking from outside in, instead of inside out, I am loosing my internal relationship with my sculptures. It is more like a language, asking questions, provoking and having a conversation with the viewer as Fried described it (“as a language of gesture, meaning expression that may be prelinguistic, or for which words do not suffice”). This interaction between the viewer and me is taking place in between, or in a gap, or in another dimension because it is all experienced in the mind and cannot be measured. This communication is an illusion by itself. This imaginary contact could be a catalyst in changing the viewers’ way of seeing or thinking. It therefore does exist, and may influence them psychologically and corporally.

This language works on cerebral, theoretical and philosophical level and has every possibilities in it self, which strongly relates to Deridda’s philosophy on deconstruction in language and deconstruction and the visual arts. The gap theory is one of the main interests in my practice. Following further the theory of deconstruction in architecture and the theory of “betweenness” Peter Eisenman architect states that; “the new condition of the object must be between in an imaginable sense as well: it is something which is almost this, or almost that, but not quite either. The displacing experience is uncertainty of partial knowing.”
“It will not set dawn strict parameters but constantly questions and expands through a critique, operating by dislocating meaning”
Exploring this theory further, the Deconstruction as an art form stimulates the viewer to take part in the analysis of the “between” which I am very interested in, and I want to explore and create work of art that investigates these gaps, “betweenness”, and paradoxes.