The physical reality of being human represents a great divide from the external world. It is limited, a scene that is internally closed, entirely insulated. As a result, it remains a source of mystery. My work focuses on body language, and my interest in the variety of skin tones interned in the human body. I make use of sexual allusions, religious poses and imagery to associate the flesh with transcendence. Painting is about discovering invisible forces. I try to make these visible by distorting the body. The body, with its terrestrial side and its vulnerability together create a strange imagery where bodies seem swallowed, almost as if actors plunged into a stifling universe made up of bones, eggs and meat. The aesthetic is expressed through a brutal vision of the body. In turn, it evokes the duality inherent in human beings; outside/inside, internal/external. In my recent works, I make use of a single figure within a painting. This approach draws parallels with the powerful religious paintings and iconography of the past. However, I divide the format, dissecting parts of the body in order to break down the narration. By making use of alternative perspectives and manipulating distance, I am able to create human hybrids. In a sense, I am re-constructing a new icon. As this process of re-assembling the body occurs, the meaning and significance of the “icon” becomes obscured. I try to suppress the obsession of the concept to find an intuitive knowledge. Even though everything is mapped out, within keeping of a structured logic, I allow myself complex freedom of interpretation. Nothing should be forbidden. An artwork doesn’t necessarily need to be comprehensible, its success can be a direct result of being built on obscurity (in the titles as much as in the figures). The outcome, could perhaps, be the creation of a new mythology.