Painting in detail: Waku I and II
Waku I and II were inspired by Japanese culture. They were painted in one session. In both pieces, it appears that heads are set on the surface, but there is not much indication of the space or shoulders in the painting. There is an energy in these paintings, which comes from the freshness of the applied marks and the pure forms.
They are alternative portraits, which do not focus on realistic or accurate representations of a person. All my efforts were focused on bringing characteristics of the person to the painting and it was never my intention to mirror the appearance of a boy. You can still recognise a person in the painting. Both paintings are representations of transferred emotions that occurred in the moment of painting and they are my interpretation of portrait painting. By painting in this way, I am bringing elements of abstract concepts and a conscious awareness of abstracting. The mark making decisions and action of the physical application of paint to the surface are not determined by thinking, but are motivated and influenced by my intuition and other processes like music, fears, beliefs, habit and mood.
The brush-strokes are an important element, which give both paintings a certain integrity. This means I cannot take any brush marks off the paintings, because they would loss their unity. That unity is defined by mark making. The combination of plane surface and space built by strokes of paint creates a logic and clarity in both paintings. The tools and materials for painting are unlimited in their quality and structure, but for the imaginative part of the painting and its concept, vitality of the idea required a perfect unity between physical aspects of a painting and the pure forms on the surface.