The recent series of Works called OPO (Object-Painting-Oriented), are an attempt to create a  hybrid artwork in between painting and objects.

Their family name is a nod to the recent philosophical theory called triple O (Ontology Object Oriented) which examines not only the relation between subject/object but also the relations among objects while posing the idea of the metaphor as the key generative element of creativity.

In between sign and object, their outline, size, position in the space, color and motif, recall their condition as ambiguous representations, yet their materiality and volumetric plays stress their irreducibility to the picture plane and demand a real life encounter.

They appear as painted skins that wrap volumes, in a sense recalling animals, masks, structural devices, or design pieces, yet the material factuality of their painted external  appearance evokes and stresses their origin as paintings.