When I am looking at your works, I can’t help to ask about Agnes Martin influences. However, if I haven’t guessed, can you tell who influenced your art the most?
I believe that painting stripes is not very different from painting portraits or still lifes. The human figure has a long tradition in figurative painting, in the same way essential shapes appear recurrently in the history of aniconic art. Great artists created wonderful works, painting nothing but stripes: I think of Agnes Martin, but also of Frank Stella, Daniel Buren, Sol LeWitt, Barnett Newman, Ellsworth Kelly, Kenneth Noland, Carlos Cruz-Diez, Sean Scully, Raoul De Keyser, Brice Marden, Giorgio Griffa, Ulrich Erben, Rosemarie Trockel, Beth Letain and many others.
I was definitely influenced by all of them. Everyone recognizes the difference between a portrait by Antonello da Messina and one by Raffaello. Many people are able to distinguish a Cézanne still life from a Matisse one. A few enthusiasts manage not to confuse Bridget Riley’s stripes with those of Gene Davis. I hope someone can also perceive the difference between an Agnes Martin painting and one of my works.
What do you find interesting in stripes and lines? I will risk a statement that this is the major focal point of your artistic work.
I consider my attempt to learn to paint as the most difficult challenge of my life. Despite my best efforts, I still have a long way to go. For now I’m happy with the stripes. When I am old I may perhaps venture into something more complex.
I must admit that it was difficult for me to formulate the above question. And I did not feel comfortable with such a level of generalization, because, in your work, painting intertwines with, for example, works created by typewriting. How do you connect such different worlds?
I have a literary background and I’ve always been interested in verbo-visual experiments, especially in concrete poetry. I admire the work of Henri Chopin, Adriano Spatola, Arrigo Lora Torino, Ruth Wolf-Rehfeldt, Carl Andre. I also believe that there’s a strong connection between language and nonrepresentational art.