Art diary

The light of color continues to be my theme, although not the light of "color as good as monochrome" any more, but rather that of polychromes. I am interested in relativity of the painting being locked in its format. Whereas previously I was attempting to transgress this constraint by means of how I configure the installations, presently I am exploring new ways of doing so.

Where I start from are tracks of effected strokes which, as I paint, end up beyond the boundaries of the painted picture and stain the polythene floor-sheets. Of these ready-mades which I've been storing up for years I have now created polythene images where the only way in which I step in is determining the format. The images born in this process have in turn become a source of inspiration in themselves. In response to them I create related painted resemblances, occasionally with a distinct area purely monochromatic, whilst other times I may choose to magnify details of polythene images. Details of completed polythene paintings I take photos of.


In all-out confrontation of these three different methods of work I seek to explore scale, light illusion and spatial illusion.

What fascinates me about these polythenes is fortuity, chaos and coincidence. I paint with wide flat brushes whose sharp tracks are intended to break into the matt and reflective plane by way of my dynamic moves. What amazes me about the photos is the loss of authentic sense of physical space.

By way of these interactive confrontations I seek to vindicate the unique nature of painting.

Description of Style, Theme

My interest in color and abstraction dates back to my studies at the Academy of Fine Arts. For me, painting is an image of purified creativity and manifestation of visual experience with the color. In my creative process I have been focusing on organic perception of colors in which I assess the warmth, the vibration, the radiation, and the endless potential hidden in the talk of colors (just as in music). I perceive the color as a material quality and struggle to release its physical power. I conceive the painting as an opening which penetrates the color mass. In a simplified way I would describe my work as "Reduced color abstraction, highlighting the quality of the presence of the color, creating interconnected syntactic entities". In my work I furthermore deal with: (1) new sensitivity of the color surface; (2) quality of color contrasts, color lucidity all the way towards transparency, the palpable quality thereof; (3) delimitation and looseness of the physical gesture and the brushstroke in its natural movement; (4) balancing of the work in bodily confrontation with it; (5) creation of subjectively-objective semantic color system by which I replace the system of color qualities imposed by advertisement and industrial development (as comparable to homeopathic treatment).

Nearly Monochromes

As implied by the titles of my exhibits, I furthermore explore the potential and the limits of abstract expression, in a tentative process of engaging in confrontations having to do with imaginary boundaries and pre-determined principles (such as contesting the relativity of surface frontiers determined by the frame of the painting, frontiers imposed by threedimensionality of the painting, monochromaticity of the surface, etc.) I have been striving to define myself against the dogma.

Painting Technique

I have been using pigments, acryl and bonds on canvas (on a wooden frame).