Symbolic Art, a picture about ecology, environmental pollution Art, nature image painting

Concept

Artist Statement

The core element of my artistic practice is the experience of facing an insecure world, of being aware of my own vulnerability. This is my personal experience, and at the same time a universal one. In my paintings, I strive to create a mythologised world in which one can visualise a peaceful serenity and reconciliation with our world. In my virtual spaces danger is sublime, abstracted, and not really at all threatening. Unfolding vulnerability, turning it into an object of contemplation, I invite my viewer to perform a mental experiment and do the same with their own experience.

For me freedom of pictorial painting, open to dialogue with the viewer, is extremely important. Initially I decide what I want to say to the viewer, come up with the idea, its figurative solution and only then choose the technique, material, type and style of artwork to show it as clearly as possible. I augment my artworks with artefacts, found objects, integrating elements of meticulous craftsmanship into my art. Each detail is like a singularity - it opens up new potential interpretations and sensations to the viewer's encounter with the artwork.

In channelling my practice into a central topic of vulnerability, the fragility of the human, I explore visual culture and its interpretations, temporality practices, and the cycle structure that defines the dynamics of life itself. I am interested in the ways these separate threads intertwine, discovering common rhythmic shapes and resemblances.

Thus, I see time as a special entity, which I express symbolically in my paintings, whereas in my personal experience it is associated with a feeling of insecurity, of being unable to control my own life. Within this context I see the very human approach revealed in the constant striving to arrange and streamline the flows of time, to create a perfect computational intelligence. The element remains invincible, the human intention persists through the centuries and this opposition forms such a shaky and tense balance that is close to the experience of life itself.

Accumulating a variety of topics in the aesthetics of enigmatic realism, I invariably turn to an introspective optics. My art is an experience of seeing myself, sculpting my own identity, tracing the lines of femininity in my Self and my perception. The issue of identity is particularly important to me because, as a global person, I have long been deprived of a direct and singular belonging to a local culture. And this is another common symptom of our times.