a catalogue to illustrate the intriguing way of seeing:

small scale work is shown as big scale work

large scale work is shown as small scale work

the way we perceive details allow us to switch the feelings of the actual scale towards a piece of work

when poetic elements come in, big or small become difficult elements to use as a measure of judgement as the overall impact of the work is related to that particular poetic intention conceived in order to express

all works are placed in such a way to evoke a comparison of motions:

in time ( past vs present : of the same motif, be it calligraphic studies or particular poem ),

in space  ( the installations which occupy a physical three dimension are more permanent and actual as opposed to installation of older movable pieces of panels/ paintings )

the use of hypothesis series to juxtapose series of calligraphic studies is a natural consequence of my many years of research in Chinese calligraphy, western colour traditions and poetry since one would be curious to see how a pretermined hypothesis of ideograms is inevitably less spontaneous than a freer approach of big brush works expressed on canvas. But the bigger works are of such outcome also because they are not only borrowed from nature externally, but are inspired by particular poetic quality internally.

Content, therefore points the way to a freer sense of expression

This first part of rediscovery is partial due to my desire at one point to work towards a restudy of nature, in a simple manner- to simply work again figuratively , in small watercolour

The ongoing experience after the first rediscovery leads to many projects to come:

the reobservance of space in time, in motion , hence my return to almost daily practice of seeing through the moving sequence

the re-understanding of great masters in various traditions by seeing what they see from the inside: how they came to point out new possibilities and how we could again carry on such mission and to point to further possibilities

An internet of energies, between past and present, 

a respect to all artists who contribute generously to how we could reignite our hopes, in every way in order to be vital with creativity

Thank you to all masters, to all figurative and non figurative artists, to all conceptual or non conceptual beings, from all cultures

somehow we are indebted to one another

and that is why we need to thank each other

 PS. the many pages of using various greens is borrowed from Howard Hodgkin, who in 1984 ( Venice Biennale )determined to change the tones of the wall in exact shade of green in order to host his paintings. I,  as a student at the time, was greatly amused by his way of treating details.

Thank you Howard Hodgkin as I went to that show at the Biennale at least 7 times - only to see his padiglione for seven days