Blog

From Applying Paint to Directing Pigment

It allows the medium to be investigated not only as something that carries color, but as a physical material whose movement, distribution and structure can be deliberately shaped.

01.09.26 07:08 AM

When Paint Is Not Applied but Pigment Is Directed

Richter works through successive layers, movement and removal. I direct pigment through controlled micro-movements within a single painting session. So what actually changes when the artist stops applying paint and starts directing pigment?

30.08.26 06:41 AM

What the Oil Painting Can Still Become

This changes not only what can be seen, but how the painting must be seen. The traditional question has often been: What is the right distance from which to view this painting? My paintings do not have one right distance. They require movement. From far away, you encounter the whole.

26.08.26 09:18 AM

A Painting You Can Get Addicted to Looking At

There is something peculiar about this painting. The closer I look, the less it seems to be exhausted by looking. Instead, it keeps revealing something new.

24.08.26 07:16 AM

Beyond the Intermediate: Can Painting Move Beyond Modernism?

There is a strange moment in the history of painting when one begins to wonder whether painting has already passed through too many lives. It has been academic, romantic, impressionist, expressionist, abstract, conceptual, deconstructed, revived and repeatedly declared dead.

19.08.26 07:53 AM

Thoughts on Art

What makes an artist? Not the ability to copy what is seen, but the ability to transform observation into something of one’s own. These ten theses reflect on artistic development, memory, imagination, technique, imitation, and the freedom to move beyond what is visible.

08.08.26 10:05 AM

Directing Pigment Instead of Applying Paint

One of the questions I am asked most often concerns the surface of my paintings. People wonder why it looks different.

22.07.26 07:30 AM

Painting Time: David Hockney's Winter Timber and the Timeline Series

A painting occupies space. It is static, fixed, and visible all at once. Yet our experience of the world is neither static nor instantaneous. We move through landscapes, memories overlap, events unfold, and perception itself develops through time. For ...

16.06.26 07:43 AM

Estonia's Art Market Paradox: A Rich Cultural Scene in a Very Small Market

Estonia is often celebrated as one of Europe's cultural success stories. For a country of just 1.3 million people, it has produced an impressive number of artists, designers, architects, musicians, writers, and cultural institutions. The country has a respected art academy, active galle...

15.06.26 11:25 AM

Before Collapse II

Before Collapse II captures the threshold where form gives way to force. Rather than depicting a wave, I explore the moment of imminent release - when structure falters and movement becomes inevitable.

10.04.26 09:45 AM

What Defines My Work

I position my work in dialogue with artists such as Gerhard Richter, J. M. W. Turner, and Anselm Kiefer, as well as in contrast to Vija Celmins and Hiroshi Sugimoto.

What connects these practices is not subject matter, but a shared concern with materiality, time, and perceptual tension.

31.03.26 10:38 AM

Timeless Colors - Original Oil Painting, 2026

Un dipinto contemporaneo su Venezia, oltre l’immagine abituale.

Timeless Colors
Oil on canvas
80 × 120 cm
2026

“Timeless Colors” porta l’osservatore a Venezia, ma non dentro una cartolina romantica.

È uno sguardo che sottrae l’abitudine e lascia emergere il colore come esperienza, ritmo e presenza.

24.02.26 04:25 PM