In my work I try to develop a pliable, flexible line capable of interaction with various other lines to form more intricate images. The complexity of the line transforms and reverses positive and negative aspects of the space. One sees images in which the boundaries exceed the spatial planes which contain them. Abstract balancing of forms in different spatial planes, coupled with vibrant color, augments the compositional structure of the art work. The background is also essential to the total feeling of the work, as it becomes either a means to complete the image or a way to disperse and merge the forms.

In the Judith and Holofernes I break and twist pictorial space making it dense and compact. I overlap the knife in Judith's hand and Holofernes' head merging them into oneness. His left leg becomes the maid's right one, thus helping me to achieve a greater interaction and unity between different parts of the composition and increasing the intricacy of the image.

Also, in this work I shift pictorial planes and intermingle the far with the near. Here, the bed and the figures of Judith and her maid appear to start at the foreground of the painting moving into the background. At some point in the middle they return to the foreground producing an effect of curving space, similar to a giant wave that moves to close on itself. Such organization of space, where one part interlocks with another integrating into a whole is necessary for the construction of internal order in the composition.