On Tape:
My works are pictorial illusions formed by light and shadow. Tape allows for images that communicate what I'm interested to do in a very direct way.
My medium consists of three elements: translucent packing tape, clear acrylic panels, and light. By superimposing layers of translucent tape, I play on degrees of opacity that produces transparencies highlighted by the color, shading, and embossment.
There are some qualities of tape that make it unique for me as an art material: its banality, humbleness and its “throwaway” nature; its default settings of color and width limiting my freedom; its unforgiving translucency – no mistakes can be hidden; the cold and impersonal attitude that tape surface suggests.

On Process:
I apply a stripe of brown translucent tape on a clear backlit acrylic panel, and if I don't like it, I peel it off. If I peel off less frequently than apply, a chance is that an image emerges. The whole process is reminiscent to the red room photo development in the pre-digital era, in a way, as my hands do the job, and my mind is witnessing the appearance of the image, then the only concern becomes to not under - or overdevelop it. Though I try not to lose control completely, I am not aware of every move I am taking, so by the time the piece is done, I don't exactly know how it has happened, so I feel compelled to start a next image to make sure that I can do it again. This is yet another reason for me to keep working in this strange medium.

On Layers:
Layering tape, and even peeling it off, gives me a strange satisfaction. The only explanation for it I can offer comes from the Eastern cultural perception of the self as an onion, according to which if you peel off the outer layers of the onion you find more layers underneath. It makes you want to peel off more, and more, and more to find the pit, but when you finally peel it off to the very last layer you are left with nothing. I do it in reverse, but the feeling that it is only the different direction of the same process feels liberating.
On Motives:
To paraphrase Marshall McLuhan, “the medium is the message,” my take on “the tape as the message” could explain the superficial motives, which make up the work. Once the implausible nature of my work is accepted, one can begin to think about the meaning. The latest is born as the result of superimposing material and images chosen to be portrayed.
My works are categorized mainly as portraiture and fall into two main groups: (1) “real” faces - portraits derived from my own photographs, or classic art and (2) fictional characters – ones derived from old movies or social media. I like to see these two themes, “real” and “fictional”, in my works as parallel. Together they interplay on real and projected self, individual and group identity, on latent pressure involved in being and playing human.