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My latest and ongoing investigation is what I came to call: “Reverse Camouflage” and the theme have a direct connection with contemplations and philosophical approaches towards existence. The starting point emerged from a great sensation of loneliness and longing for something that never was… likes the feeling of a home.

Camouflage is about blurring the "edges" between the object (subject) and the background (context). It's a survival mechanism that exists in all layers of living things from insects to humans. It is a mechanism used to protect or attack. there are 4 types of camouflage, but in common to all os them is invisibility by eliminating characteristics. In cultural camouflage one has to identify these "sharp edges” (which are not accepted as normal), and obscure them by adapting characteristics of the environment. It can be a conscious or unconscious process. what stand behind our decision making?

Camouflage can be dangerous, not only to the potential victims but to the subject itself, because when camouflage progresses for a long period of time, there are side effects, such as inconsistent personality, the incapacity of being alone which can lead to a sensation of now knowing who you are. My aim is to achieve the result of a camouflage (because it’s inevitable for survival) but without having to obscure who I am, being invisible with erasing my identity.

My investigation have led me to beauty and fragility such as flowers and butterflies and their coloration relationship. could it be possible that the surrounding and the object share enough similar characteristics that an elimination of one self is no longer necessary?

A butterfly with yellow wings lands on a yellow flower and positions itself in a way that provokes invisibility. such fragile creatures unite together and become powerful, almost dangerous. Their unity creates an illusion of something powerful, dangerous. Is it a lion? is it fire?

During the performative part of the work I demonstrate the mechanism of Reverse Camouflage. Instead of being a passive subject (by adapting the features of the surroundings), I become an active one by forcing my features on the context. The object is painted and creates an illusion that it transforms the colours on to the surface. The final position camouflaging the object (body) with the painting, My work and I are one. The result is two things merged into one. Subject and Context are now one Object.

While in my work I employ a number of different mediums, I am more focused on painting, video and performance. Considering the core of my artistic formation, painting is certainly the foundational medium for my creative process; it is for this reason that painting, with its theoretical and practical characteristics, has heavily influenced my use of other mediums and affected the approach to my creative process. Many of my works explore the human as a source of inspiration, a subject matter and as a creative platform. I aim to raise questions about the human condition and the unnecessary barriers between humans and nature; or as they are called in the field of ‘eco-criticism’ – human and non-human living beings. In this way, I wish to state that mankind is ultimately driven by an animalistic and

egocentric survival mechanism, while the animals are evidently ‘more human’.

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