In the early works on rice paper, the starting point was always a picture connected to the time I was a child. First I used pictures of myself, then of the birds my father photographed when I was little, and finally the subject became well-worn objects that had a personal meaning to me. Today the carrier and the applied technique can be anything, and the images I use are now the product of my own documentation: a text fragment, a little drawing I happened upon; often combined with patterns of vein and root systems. But again and again, the story is about how what we see and experience during childhood relates to the dilemmas of the adult world.
In the early works on rice paper, the starting point was always a picture connected to the time I was a child.
There came a moment when being engaged exclusively in my own art was no longer enough. I started working on projects that involved cooperation with non-artists.
Also Nepal is a workplace for me: the ubiquitous handiwork and crafts are an endless source of inspiration.
The essence of documenting is watching and listening: you catch the moment when something is created that matters, and you zero in on it.