Studying architecture taught me how to paint in a different way. Instead of sitting in front of an easel with only myself and I, I wander around my studio collecting information and clues about something I could build. Like a construction, I try to find a structure that binds all those fragments together.
It starts usually with a piece of paper, often an already existing, unfinished drawing or collage stumbled upon. Parts of one work are cut and added onto another. Therefore, there is no original format or orientation to dictate any conditions. If something is incomplete, I glue in additional surfaces. So the painting grows as more and more elements are added. It is hard to know how big the next piece is going to become.
Then, I found that horizontal compositions make the eye travel easier across the surfaces and notice the chain of different materials.