My practice is devout to portraits of women, the passers-by from the moment in time. I acknowledge their strength and their glamour. I inquire into the aesthetics of absence, hauntology, and nostalgia.
I look at the dress as the memory of the absent. Dresses, that I consider to be ultimately female garments, form their own visual language -- the feminine sartorial language that speaks of identity, empowerment, and allure. In the absence of the wearer, the dress speaks of non appearance. In the absence of the wearer, the dress forms the only portrait that remains.
My work has an intermediary power between entities: past and present, photography and painting. The protagonists I portray I uncover in archival photos that I collect. They entice me from the past with their glamour, strength, mystery, untold stories, yet often all I am left with is an orphan image reflecting a second of their life, a stage moment. Photography informs my painting, both the archival photos and the contemporary ones I take myself. My paintings, however, unlike the photographs that inspired them, are not the items of evidence. They are reminders of something else - faded lives, fleeting memories; they draw on the state of loss as an emotion.
I also see the role of an artist as an archivist, as the bearer of the past that holds the key to the future. They look after the images of the past, more than that - they responsible for bringing forward time honoured processes, such an oil painting, etching, ceramics.