Tales Of The Unseen
New works on paper
Available from 28. April – 4. May
Limited-time release
These new works mark a decisive shift within Tales of the Unseen: from isolated fragments — hands and feet — toward a more comprehensive investigation of the human form. At the same time, the process expands from an internal, intuitive approach toward one that increasingly engages with observation, reference, and the direct encounter with other bodies.
They initiate a rigorous, long-term study in which drawing becomes both method and training — building the precision required to eventually confront and reinterpret canonical bodies such as the Sistine Chapel ceiling.
To acquire a work from this phase is to enter the series at a point of expansion: where the language remains rooted in fragmentation, yet begins to articulate a wider range of recognizable body parts and their relationships. The drawings do not resolve into complete bodies, but extend the vocabulary through which the body can appear.
Each drawing holds this transition — between intuition and observation, study and statement, discipline and emergence — and carries the early momentum of what will define the next stage of the practice.
XL – Tales Of The Unseen
L | Tales of The Unseen
M | Tales Of The Unseen
More about the Drawings
Tales of the Unseen is an ongoing series of over 600 drawings — traces of movement shaped by decades of dance practice and a continuous investigation into the relationship between body, space, and perception.
Until now, the drawings have emerged almost exclusively from within: guided by intuition, memory, and embodied knowledge of movement. The line followed internal sensations rather than external references, developing a visual language that oscillates between abstraction and the suggestion of bodily and architectural forms.
Until now, the drawings have emerged almost exclusively from within: guided by intuition, memory, and embodied knowledge of movement. The line followed internal sensations rather than external references, developing a visual language that oscillates between abstraction and the suggestion of bodily and architectural forms.
With the current body of work, this process begins to shift. For the first time, observation enters the practice as a deliberate component. Drawing expands from internal perception toward external points of reference — including photographic sources, live drawing situations, and performative contexts.
This shift manifests in two parallel formats: in the studio, through drawings based on references and live models; and in performative settings such as Performing Tales of the Unseen, where drawing unfolds in real time in relation to another body. The counterpart is not a static model, but a moving body — a dancer whose presence directly informs the line. Similarly, within exhibition contexts, live drawing situations increasingly create a concentrated encounter between artist, model, and audience.
Drawing thus becomes a site of negotiation between inner and outer perception — between memory and observation, intuition and analysis. The previous focus on fragments begins to expand into a more deliberate and systematic investigation of the human form, in which structure, weight, and anatomical relationships come into sharper focus.
This phase marks a transition: from an internal, self-referential system toward a practice that actively engages with the visible body. Each drawing can be understood as part of this development — as a moment in which the body is not only imagined, but directly encountered.
grow and expand his horizons within his art practice and business.”