My paintings are often made as story constructed canvases; exploring the forms of our surroundings, cities, architecture, landscapes and the state of arrested development that somehow typically occurs in urban environment.

I like examining the human relationship with nature and our urban habitats; how the two interact, how they affect us and how one is directly entwined with the other. I’m fascinated by the contrast between the natural landscape and the world created by us. Cities as complex urban incubators, images of poor neighborhoods, ruined houses, graffiti and wires coming out of them and the space between that world and the world of corporate, shiny glass and metal modern architecture. Often both of those worlds are just minutes away from each other and yet so hard to combine without being too literal or illustrative.

I look at what’s around me and I translate it into a visual form that makes it purely a product of my imagination. My paintings are just x-rayed images of that imagination. They stand by themselves, but put together they look like a two dimensional movie taking the viewer on a journey where darkness remains in realism and the visual noise of color and light changes everything to abstraction. My use of enamel and gloss paints opens the chance for reflection in the painting. A car in the painting shines the same way a real one does when collecting the surrounding city lights. The viewers’ shadows would move and deform the same way a shadow does when laid on the surface of a real car. It’s energy and motion made visible. 

The most interesting part about my technique is probably the fact that I paint in a similar way as Jackson Pollock did. We both walk around the canvas and pour the paint on its surface in similar fashion. I use black backgrounds, crossing shiny lines and create explosions of light spots with often just one “favorite” brush. When I paint, I don’t have any beginning or any ending point. I paint with a general notion of what I’m about and what the results will be.