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Small Paintings

I like small paintings. It might be because I used to collect stamps when I was a child, and I first saw the Masters (the Annunciata by Antonello da Messina is one of my earliest memories about art) inside a little serrated square of paper. Or maybe because a few years later I would start buying records, often judging them in advance based on their 12x12 inch covers that introduced me to the likes of Gerhard Richter and Raymond Pettibon. I can also remember that my father used to tell me that, had he lived in the Middle Ages, he would have been a miniaturist.

There is indeed something religious about being bent over a small canvas, trying to produce something which hopefully makes sense to someone. You can handle it, rotate it, or turn it upside-down to check if the perspective is right—you don’t need a mirror or a mobile phone camera for that. I like the dynamics you can create by placing a small painting beside a big one, the sort of narrative or unpredictable meaning the juxtaposition might suggest.

Sometimes, like with this new one, there are both an element of reduction and a larger-than-life side to them. This painting is based on a picture I took of a fake feathe fallen to the ground from a carnival costume, a sort of baroque element inside a minimalist space. Only after I was finished I realized that, had the feather been a real one, I wouldn’t have been interested in painting it. Since I don’t like my work to be ornamental or symbolic of something else, I think I feel more comfortable with simulacra, that must be why.

This work is available. If you are interested, click on

Most of the Attention Was Paid to Lower Things (Fake Feather), 2023. Oil on linen, 30x25 cm.

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