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The flood of images and their excessive, inflationary proliferation around us disturbs me, puts me in a kind of visual restlessness, but at the same time it is an indispensable source of my working process. I am driven to take objects, forms out of their original pictorial contexts and bring them together gracefully in a space that has been waiting for them.
I see Munch's scream in a Russian retro latex toy bunny.
In the tradition, pictures were often carriers of transience; today the images themselves have mutated into a symbol of hypervanitas.
My work is my obsessive-compulsive approach to this condition.