Perle Magazine - Spring 2018 Perle Magazine - Spring 2018 | Page 16

The exhibition in Gallery 21 was also akin
to that of a garden, what was your process
when you envision the display? And the
addition of a vintage Fiat, what was the
mindset behind that?
I had to create a scenography that
was garden-like and at the same time
display the artwork as the highlight of the
well-decorated space within the gallery.
The vintage Fiat was a prop to give the
notion of a romantic drive in the garden.
How would you describe the aesthetic
of your work? Would you say it is
minimalistic?
My work is not minimalistic. It is a
combination of geometric abstraction (with
the exception of Les Roses de Bagatelle),
minimalistic palette on the convex service.
It is a cross between sculpture and painting,
it is a Hybrid.
I wouldn’t not say Minimalistic is my
signature style, its a period, my Hybrid
period.
How would you say your art has evolved
throughout the years?
My early work work was influenced by
the traditional representational renditions
of the physical world with the Fauvist
emphasis on colour. Then, I gradually
moved towards representational abstract
to non-objective art. Then, I began
experimenting on how to translate the
language of painting from its traditional
form into three-dimensional art.
During the late 1990s, after several
experiments, I stumbled across the shape
of convex and turned into a convex-shape
surface. The convex structure as part of
the composition of the painting evolved
from the canvas covered surface with the
abstract mark marking and color fields
minimalist palette on high gloss lacquered
enamel on aluminum to be chrome plated
stainless steel with geometric shapes of
square and circle.
16
Perle
SPRING 2018