The series Celestial Screens is inspired by distant vistas of urban areas and the view of the sky illuminated by city lights, particularly at night when artificial light dissolves the boundaries between reality and ideation. The painting process and its process of reduction yields but few reference points, if anything what remains are memories – a notion of the night and its vague, seductive aspect.
The light dynamics in the paintings, in the context of the exhibition of the same name, appears to be a reference of sorts to how light is dealt with in ecclesiastical paintings.
The generative process of the images also incorporates media-related aspects. Thus colour gradients and light gradations relate to a changed perception of light in film and photography. Kodak is a reference to the warm tones of this particular analogue colour film. The title Fuji, by contrast, refers to its colour shift towards the blue. The horizontal and vertical lines of the canvas and the variable paint layers shimmering through result in a dynamics of appearance and disappearance. On a different level this also occurs within the painting process: an intangible space emerges and the image is only finally completed in the mind’s eye.