Sum up the main character of your work, your long-term interests and themes.
I became completely absorbed by the world of colour, going from brief observations of the sky or the structures of invertebrates and rocks to reading literature. It’s a mutual hunt. I feel pursued by colours, but sometimes it inverts and it is me tracking them. It is all much more complicated than this, of course, because we perceive space on the basis of colour contexts. Our circadian rhythms are controlled by light. Colours can evoke moods. So art reflects strong social themes. I see artwork and working with colours as a way of talking about everyday things.
Describe the context of your work – what are your inspirational sources and theoretical starting points, which artists and tendencies do you consider as referential to your work.
I come across something new and have to mediate it to others. I worked with Wittgenstein’s texts for a long time, considering what happens when a context minutely changes. Based on that I made paintings with unusual constructions. They suddenly became objects which work using light and shadow, the way sculptures do. It’s a game with words. One thing is what we see, another what it is, and yet another what we call it. Playing with words is crucial for our perception of colours. The portfolio includes paintings about the contexts of colours. I put together a table of wavelengths of colours that I use. I reconstructed some artistic processes, procedures and theories of colour from the painter’s perspective. I have been using graphs to paint a problem approached purely on the basis of the relationship of colours, for example to show what happens between yellow and orange. I am interested in defining the relationship correctly. This project generated striped processual paintings. Recently I have been fascinated by the surface of the painting and I was very impressed by the show Abstract Spatial in 2016 in Kremz. I am interested in how the surface area deforms under the weight of connotations of the theme and in what the viewers experience. The painting manipulates them and they manipulate the artwork. It is Kafka-like. Everything is changeable and all that is left is visual gluttony.
Try to characterize what makes your work specific, wherein lies its force, what makes it different from the work of artists with similar approaches and themes.
I believe artistic creations should be spontaneous. If you want to talk to someone, you have to be open and able to polemicise with your own truth.
What is your work process like? Do you deal with preparation and research? How do you search for your themes? How do you choose the media you work in?
That’s how I work. Designs start who knows how long in advance; I keep coming back to them. I read something, because I spot something somewhere, and it all just sits around for a while. A lot is discarded because in the end I see it’s silly. That’s a normal process. A lot of the work ends up in the bottom drawer. There are a lot of by-products when I work with chemical substances, for example with pigments that change colour. They seem just ordinarily attractive, but after some years, once I started to get to know them more, it all makes better sense. I made works of art that cannot represent themselves.
What is your vision for the future? How do you want to develop your work and continue your previous projects/realizations? What is your long-term goal/dream?
It is hard to make prognoses. I have been looking into art verging on scenography. Of course, I like beautiful paintings, but their strictness is their disadvantage, limiting in that the painting only communicates with the viewer through its body, the canvas and the frame. I see the real potential in the viewer’s experience. I don’t see a reason to stop painting, but I’d like to focus on acts in painting and on mediating a way of thinking.