My recent paintings explore systemic structures and particularly technological systems developed for colour manufacturing. By employing technologies that remodel the natural spectrum as compartmentalised units, I examine how conversions between colour systems affect chromatic values. As a selection of readymades, colour codes form the compositional basis of my work and are building blocks compounded within a variety of systemic structures and matrices, such as Persian tilework patterns or the product lines of a given car manufacturer.
The notion of the product line is also reflected in my studio output, which consists of geometrical colour-field paintings, monochromatic paintings with automotive paint and so-called ”industrial paintings” on spliced rolls of canvas. Within the confines of these separate formats, I make images that seemingly relate to a western modernist vocabulary, but with the underlying purpose of questioning this particular paradigm’s conception of colour as an exotic and effeminate secondary feature.
Rather than highlighting medium specific characteristics, however, my works are ambivalently situated in between the categories of painting, colour charts and sculptural objects. A common denominator for my threefold approach to image-making is an ambition to establish literal relationships between the works and the stereotypical colours, patterns and units of measurement that serve as formal starting points. Instead of inspiring interpretation as representational objects, my pieces strive for a deadpan, one-to-one correspondence in the reification of chromatic and infrastructural entities.