I find my artistic practice has a lot to share with cooking. My mental creative space is like a pot, equipped with my life experiences, my artistic ideas, my research, everything I’ve done so far as an artist, plus my knowledge of certain materials and techniques. This is constantly being stirred and the possibilities are endless; any proximity of different elements in the pot can spark a number of new ideas and it’s through my selection process that a certain idea will be welled up, get refined and leave the pot, making its own journey as an art work.

My work’s possible starting points are numerous: something I’ve seen and taken a picture of, a found object, a place, an idea that dawned on me while seeing another artist’s work, while listening/reading stories from the past or while watching a film or a documentary. Similarly, I don’t feel restricted by traditional sculpture materials and processes; rather, I’m open to experimenting and learning new techniques.
I record and develop these ideas in my sketchbook, thinking of the alternative forms they might take, trying to free myself up from stereotypes or habitual patterns that make the work stagnant. At this stage ideas may flirt with specific materials as I play in my studio. This is a very fertile ground as lots of ‘accidents’ may happen that reveal a material’s hidden potential, something that may be used in a future work.
Most of my ideas don’t get realized right away but remain dormant waiting for the right conditions to emerge. When I go back revisiting these old ideas in my sketchbooks, I’m not easy on them, I question their relevance to my current work, to the particular project I might be applying for and, most importantly, whether they still have emotional resonance for me. Then I select and refine them by experimenting with possible materials and by making maquettes and more detailed sketches. As these ideas come on top of this creative mix again, they become the focal point and they redevelop but preferably not to the point where everything is set in stone. At this stage, marriages of ideas with particular materials happen as I make my final choices for things that may take long to make or need time to arrive. Ideally, I would enjoy a narrow scope of freedom up to the last minute, by leaving my final decisions to be made while installing the work in the exhibition space.