My work is about emotional architecture. Through large paintings of architecture and infrastructure and by connecting these images of places together through their visual similarities, I seek to orientate the spectator in a different place, a mental space.
There is something very futuristic about the architecture I am painting. These places seem unreal and it is unclear if they do really exist. They could be the background of a science fiction movie, but they seem already dated, from the past. They are taking us back to the imagery of the space age, a time when architecture was getting out of its primitive function of shelter and dwelling and was dreaming of a future and an ideal world. These utopias are now lost, the dreams failed, the party is over.
There is no real indication of when or where these places are from, but it doesn’t matter, they are moments suspended in time and anachronistically frozen in space. There is something disturbing about them. They are empty. The absence of human figure reinforces the feeling of anxiety. We don’t know if these places are abandoned for a moment or for good. Even if the perspectives, the doors, the bridges are pulling us in, there is a resistance to be drawn into these abandoned spaces because they might feel oppressing, or simply because we are uneased by them.
Each series is constructed as an environment, where paintings of specific buildings become a horizon and the sculptures are places from which to contemplate this landscape of architecture while also being reflections of it. In the continuity of the Romantic painters and their delight in the terrifying sublime in nature, I draw a similar melancholic look, but Nature has been replaced by contemporary architecture.