For many of the paintings here I used chopsticks or branches and so forth rather than paintbrushes, in order to generate less control and not get caught up in brush-handling intricacies, and I really like the haphazard look and outcome. Similarly, many of the paintings don't have an up or down, are not tied to a single perspective, and can thus be hung in any direction.
 

The number "319" refers to 319 Grand Street, and "214" refers to 214 Lafayette Street, where I held numerous events such as photo shoots and shoots for feature films and commercials. All material used for the series "ON LOCATION" stems from these events and environments. These paintings are therefore by-products of other activities, but these activities alone made their existence possible.

Events: Google, Samsung, Nike, Macy's, Absolut, Expedia; Veuve Clicquot, Johnnie Walker, Sony, Warby Parker, Carolina Herrera, Target, Roberto Cavalli and many more.

Film shoots and commercials: Law & Order, Person of Interest, Annie, Forever, Power, Nespresso, Nintendo, Esquire, Dwell, Bloomingdales and many more. 214 Lafayette
 

Most of the paintings in the series "CORPORATE NAME PAINTINGS" are done on the fly and are unpremeditated concerning their form or the names of corporations and brands used. The only condition is that each corporation or brand's last letter must be the first letter of the following name. This process is dynamic and fluid and "interlocks" all entities. It is a metaphor for the "real world" - and makes you aware of how beautifully your brain works.

To paint, I use chopsticks or branches rather than brushes to have LESS control and not get caught up in brushwork intricacies, and I like the random look and result. Most of these paintings have NO up or down, left or right, and can be hung in any direction.
 

The paintings in the series "ORNAMENTAL / TECHNOID / INSECTOID" are inspired by (repetitive) ornaments and use an "ornamental" approach to painting, meaning "beautiful and harmonious" brushstrokes. They are also inspired by the shapes of circuits and technical devices, as well as (protruding) body parts of insects. This confluence creates a somewhat bizarre "Gestalt" for our anthropocentric eyes.

I am fascinated by what I'm calling "ornament," since so much that surrounds us seems decorative rather than useful or utilitarian. This "ornament" embellishes our daily lives, almost unavoidably. Perhaps it is analogous to the way in which we humans are to some extend mere decoration for the genes that are working away underneath it all.

Especially in the early paintings here I use artificial colors, that don't tend to occur in nature, to avoid mere documentary representation.