Concept
The theoretical platform of my artistic practice is metamodernism and new sincerity. I define my main method by the term "oscillation". I explore the fluctuations between inside and outside, personal and collective, between the system of community and the system of the subject. I work outside the ri...
The theoretical platform of my artistic practice is metamodernism and new sincerity. I define my main method by the term "oscillation". I explore the fluctuations between inside and outside, personal and collective, between the system of community and the system of the subject. I work outside the rigid boundaries of the anthropogenic or the material.
In my works, I do not transmit meanings, but prisms, the very optical distortions that belong to my eye and perception.
I do not paint portraits or landscapes, I do not try to formulate a question or an answer, but I create a reason to doubt the usual interpretation of the real. In this, I am guided by the specific modulation of surrealism by Rene Magritte, with his visionary entry into the logic of conceptual art and even further into the logic of oscillation.
In my works, an active background, a pause or emptiness are full-fledged, active elements of the pictorial language. What is reality within the picture, and what is a dream? In fact, no final conclusion is foreseen. With each new meeting with the picture, you will have to redefine: what is really the object of the image?
I refuse to broadcast a constant idea - this is just another aspect of reality, another combination of optical distortions.
Following the principle of aesthetic economy, I compensate for the endless variation of combinations by carefully measuring the midpoint of oscillation, keeping within an ascetic color palette. In my work, spots and lines are never random. The idea as the most expressive part of my work can be spontaneous, it is the most expressive part of my work, but the process of implementation requires rigor, almost drawing. I use a kind of "mathematical" approach to graphics that I learned from my architectural background. Graphic markup is another category of work with optics, a critical rethinking of geometric perspective as an imposed, already too ideologized visual filter.
The dimensionality of the technical and technological process allows me to design alternative optics, explore reflex impulses and oscillations within the chosen binary opposition, coordinate system, marking. Any failure in this case is evidence of how exactly the optics works, as if its imperfect trace. Error is an element of the structure, the system of concepts through which we perceive the world.
