These paintings have two types of characters: the Humanoids and the razor-cut figures.
The razor-cut figures are a metaphor for the lost information caused by fragmentation, although this loss is only visual, similar to a lack of understanding. When recalling a dream, all the pieces are there but the conscious mind struggles to put them together, symbols help to rebuild the image. This is why bringing back symbolic images from the Renaissance or from the Antiquity can touch us on a deeper level. We know the image (or at least have a feeling about it supported by the collective unconscious), we are aware of the connotation, it gets included in the work, transferred but not copied, carrying only its deeper meaning to represent the inner struggle of the psyche and accidental appearances of the unconscious.
In creating the Humanoids, my intention was to portray the human figure and psyche as a whole, but the final image arises the question as to whether the Humanoid is an anthropomorphic object or a reduced, condensed human figure.
Ever since C. G. Jung’s extensive unconscious-mapping work, it has been widely accepted that dreams are the utterance of the unconscious. Many people regard dreams as a negligible by-product of the psyche. But if we consider that almost the half of our lives is passed in a more or less unconscious state, it may encourage us to start discovering the realm of dreams.
In the past couple of years I have painted dreamscapes, based on my own dreams. Immersion in dream analysis made it possible for me to see dream images and later every other image, from the perspective of dream analysis. This made me to develop a dream representation based method, making real images dreamlike by moving them from reality into the unconscious, oneiric realm; in an attempt of an authentic portrayal of the unconscious.