Over my still relatively short career as a painter, I have become increasingly preoccupied with what truly constitutes a painting. This concern has intensified over time. The materials, the stretching of the canvas, the thickness of the chassis, the mediums used, the height at which a work is hung. These elements have gradually become more significant to me than the image itself.

This concern has progressively manifested itself under a certain form, almost a set of rules; no guidelines. These guidelines begin with what I consider the most fundamental element: a canvas of London cotton at 290 g/m2. Then follows my second choice; I do not prime my canvas, it makes the act of painting a more let’s say “honest” experience. Afterwards comes the choice of mediums or the lack there of, mediums are ever evolving for me and for the first time no strict rules are applied. On the contrary, the last guideline is the most strict, rather staunch thought that a painting should be a canvas stretched on a chassis hung at no more than 30 centimeters from the ground.

Painting evolves and so do I, therefore maybe these rules are all for nigh.