As an artist I am indebted to the history and tradition of art. I see the Italian High Renaissance as a point of reference from which I stem and which causes me to shuttle back and forth between past and future, with time as a continuum in which I occupy an instable place between extremes and contradictions, between seclusion and the outside world, between ephemerality and eternity, between transient and apparent inertia and constant change.

Using old and new techniques, I raise the question as to whether or not by definition all art is a divine self-portrait by its maker. I have worked with casts of my own skin, my own packaging ā€“ but what does it contain? That which my skin holds together, which keeps my ā€˜Iā€™ separate from the outside world, which in 2012 led to the project Skeleton. Using a CT scan and a 3D printer, I made an exact copy of my skeleton, and thus made the invisible visible. I am my own replica. I look at my own skeleton as strange eyes will do once I am dead and my body has decayed, and as I do with archaeological remains from generations ago. The identities appear to have vanished, yet they have remained intact and traceable.

In 2015 I began my new project Universe, which centres on the physical space within my skull. In this space, again made tangible with a CT scan and 3D printer, I exist. From this space, both full and empty at the same time, I am my own universe, and I create a world in which I raise the issues of freedom and restraint, privacy and social behaviour, and the capacity for personal development and self-determination in a humanistic tradition, making them visible and tangible in a new series of sculptures and installations, in which I make the impossible impossible.

excerpt from installation: Should I stay or should I go / Self-portrait 46