For me the fear of empty canvas is fascinating. You want to succeed, create what you had imagined, on the canvas, so desperately, you are already afraid that you will destroy it even before you have started painting.
I took an empty white canvas and instead of struggling with insecurity to fill it with right colors and forms, I decided to go minimal, by using photons, as my paint. At that moment I stepped aside from being the painter, and let the Sun work on the canvas for a period of one year. My role was director, to record that act with my camera combining photographs that I obtained, recording the average light of each day and arranging those in to four parts, according to astronomical seasons. The intensity of my invisible paint was dependent of the earth movements, rotation around its axis, and around the Sun. Different seasons and changes in the nature affected the result as well as the artificial paint, electric light, on the room in the evenings.
I want to use photography how I see it is meant to function, to record light. The name of the media derives from the Greek words photos– for “light”, and –graphos for “drawing”. When photography was invented, it was said to be the end of painting. But nowadays these two medias are living strongly side by side, strengthened by each other. Or being mixed together as for example in Gerhard Richters works. In my work process is important. With minimalistic effort and systematic repetition I tend to keep my work clear and simple with the aim at getting maximum effect from the subject: changes in the amount of light as well as drawing out the real potential from photography.
By the end of the process, after one year, my canvas is still empty, but the evidences of the photons playing in the surface have been recorded.