I would describe my work in these terms— Surface and volume, mass and void - that is because I am trained as a sculptor, but my works are a culmination of SPIRITUAL and Sculptural elements. In fact one way to look at it would be as relief’s to begin with and then to see the painting-over and the measuring-out of volume and void as at once pushing the work in opposite directions: towards painting on the one hand and sculpture proper on the other. The formal tension that then results should in a definite way, modulate plastic rhythm; by which I define the structured movement of Sensuous Attention visual and tactile – here across the body of the work. There in a deliberate attempt at masking the degree of recognizeability of the objects used on the surface by painting it over. Identifications effects rhythm of looking in two distinct ways; either by speeding the eye on its way when it returns to an already identified object or by holding it there for longer than usual as one tries to look past its ‘everyday’ identity to its formal presence, and its during this arresting of attention that my works simultaneously project a fusion of painting and sculpture and that’s what’s is so unique and arresting about my works.