"Ordinary life", like the most banal, prosaic moments, possesses an incomprehensible volume of infinitude. Since it is impossible to perceive this elusive dimension, our natural inclination is to grasp only fragments of time or to isolate certain objects and lend them significance.
All my moves are linked to this very elusive-banal dimension. The tension that sets me in motion is usually the eternal conflict between the cultural and the natural, the encounter between the highest and the lowest, the primal urges which are transformed via collective sublimation into lofty cultural ideals. In this respect, I am deeply fascinated by Vanitas paintings, in which the most trivial facts are cleverly harnessed to recount the story of the temporary and short-lived in a timeless manner.
While I am not an artist of a particular register, tracing the array of choices I have made may attest to various layers or repeated explorations of the notion of power, of transformations of power in its broadest and most open sense. I would very much like to regard myself as a producer of post-modern Vanitas images. My work is a type of continuous romantic worldview of great power games operating one against the other or one in relation to the other, while man, with all his grotesque desires and aspirations for power and immortality, stands in the middle.
For me, good contemporary sculpture is a static moment within a super-dynamic, image-ridden reality, one capable of posing the question to the viewer: "What the hell are you doing here?"