Architecture, and especially the architecture of the old Italian Renaissance, is an important source of inspiration for my work.The Italian Renaissance buildings inspire a meditative rest that I try to express in my work. But there is alsoa rhythm and vivacity in architectonic forms like arcs, squares, circles and rectangles that attract me.

Intuitively I am inspired by the abstraction of music scripts, the aspect of a musical score: the composition, the rhythm of notes and rests alternating like signs in motion.

The challenge for me lies in expressing rest and harmony of Renaissance architecture on a flat surface. I try to accomplish this by translating the measurements in building into a composition with a new play of forms and colours. The proportions of measure, colours and rhythm are essential to the harmony of the painting.

While striving for clear, sober compositions I often try to achieve suspense and balance in an asymmetrical design. The paintings do not strictly refer to architecture. I set out by translating the architectural forms literally but presently they grew into independent, abstract signs. The intervals between the forms themselves and the remaining forms are as important to the composition as the architectural forms themselves.

Colour contrasts, in which complementary contrasts and their derivatives are an important factor, are meant to contribute to balance. Frequently the colours of the severely painted forms contrast with the fond. The colours are applied to the linen in thin transparent layers of oil paint, one after another. The layers have been painted so thinly that the texture of the linen is part of the composition. Moreover, it is important that in the layers of colours the act of painting remains visable. By using transparent colours depth and space are aimed for.