My paintings can be considered as a kind of visual diary. They represent objects, spaces and people from my immediate surroundings which determine my life. I focus on the relationship of objects and persons, particularly. This method can be observed in the paintings entitled A Man With a Cup and The Door. These artworks form part of a multi-piece series which examines the process of accommodation to the people living with us. Namely, these works depict the complex process during which we first get to know and accept the details of the environment as well as the behaviour and habits of the people living with us. The process in which everyday contact leads to attachment and eventually to the loss of objective reality. Peculiarities, defects observed earlier gradually get forgotten and turn into patterns in us, thus we can no longer perceive them, neither ourselves in relation to them.
The representation of space allows us to define ourselves by determining our place and our relation to reality. Therefore, I find it important to explore how the paintings themselves use space. I attempt to combine the traditional receptive type panel painting with the effects of spaceforming devices. My aim is to investigate Alberti’s window similie from the point of view of the contemporary pictorial art. I use the tools of classical painting and searching its role in the recent era. I create shaped canvases, formed pictures, which are painted with naturalistic details, sometimes in a pseudo way. The composition usually consists multiple pieces with strong internal relationship. Certain details of a painting often appear or continue on a neighboring one (as an example see The Shore and The Bath), giving rise to a kind of conversation. Hence, the paintings compose the space of the work collectively, while they can also be valued as independent works of art (see the series entitled Ordo coexistendi). The empty areas in-between individual pieces are also emphatic on my works, and their distance imply a temporal distance as well. All these serve the investigation whether one could create a painting which can become narrative, “readable” without becoming illustrative at the same time. My question is whether pictures can display processes, events while simultaneously preserving the still and timeless nature of paintings as well.