The work started out with experiments mixing my usual drawing style with white-out, which formed firmer and thicker pieces amid almost immaterial swirls of colours. The white-out reminded me of cement, which was crumbling and constantly reconstructed through its mixing with the oil paint.
At the same, time, I experimented with integrating paper tape into my drawings, which again supported this idea of construction, destruction, reconstruction that was also present with the white-out.
At the same time, I was inspired by the idea and images of war-torn Syria, and more specifically Aleppo. I had been following the issue from a distance with a kind of morbid but at the same time concerned interest, like a big part of the Western population. It was a very complex issued that has been tied in with the issues I felt within previous works, and was very frustrated with the way our society dealt with this issue. However, I didn’t feel that as an artists, I could influence this problem.
I decided to translate my own feelings and thoughts of Aleppo into a visual work that tied in with the experiments I had previously done, and which correspond with my ideas. The idea was to translate the colours and forms of Aleppo into abstract impressions, making them into myth-like visions. Aleppo, for me, was a sort of myth, a distant and unknown territory that was inaccessible and which news’ related to it always had a question mark with it: was it true or just a fable?
After evaluation the three works on paper, I decided that it was too superficial to deal with such a prang issue in such an aesthetic way. Instead of shelving the work, I decided to try and open it up to give it a “breaking point” in which the issue of Aleppo, which is dealt with so distantly, suddenly becomes closer. In this process, I ended up with a glitch-video of drone-footage of Aleppo, which is rendered almost unrecognisable and abstract, but yet retain some breaks where the reality breaks through the aestheticization.