My works are an ongoing attempt to construct an invented mythology. Even though most myths are to a certain degree based on a historical fact – either as a description, or as an explanation – they ultimately evolve into fantastical narratives, as the starting point is gradually distorted over time to the point of becoming almost unrecognizable. These distortions are similar to the transformations that objects or places undergo in my work. My paintings usually develop in a fairly associative manner. Instead of pushing a work in a certain predetermined direction, I try to create an interesting space with a potential for future development, and then allow the narrative to grow out of that space. Since I usually work on a number of paintings at the same time, objects and characters occasionally migrate from painting to painting, tying the works together thematically. These themes then become the starting point for future paintings, thus gradually creating an increasingly complex document of a non-existent place. I usually work on individual pieces for extended periods of time, adding, erasing, and moving things around, often ending up with a result that is radically different from the original idea. In my mind, this gradual deconstruction and rebuilding has certain parallels to the way time itself functions, gradually distorting a certain historical fact by alternatively adding and omitting from it, until we are no longer able to separate fact from fiction.