thus, each person will perceive this completely new confrontation with painting in a peculiar and continuous changing perspective that problematizes a fixed understanding of reality.
the particular support stresses the physical presence of the figure and, as it partly keeps the flatness of the traditional support, allows me to still use the language of the painting.
this aspect is particularly important to me, as my objective is to freely develop the figure in a continuous pictorial space.
furthermore the fact that it is impossible to grasp a yon painting on a glance, proposes the viewer a capturing experience, which is supported by the natural mechanism of the human visual perception (rudolf arnheim & gestalt-theory); the eyes capture a series of fragments that only after a mental organization, based partly on memory, are formed into the entire image.
the yon figures are directly offered to the extra-painterly environment, as they are not inserted in any illusory pictorial space, similar to byzantine icons.