VIEW IN MY ROOM
The feeling of grey. The feeling of cold. The feeling of flat… The feeling of silence. The feeling of the repetition of sensations and the sensation of forthcoming reality. The memories about halls which raise respectful emotion, pools which used to make feel ashamed of your nakedness, sports halls which used to inspire to dream about small meaningless victories, factories where you used to work a lot and exhaustively, hospitals with its exclusive smells and thoughts about being sunken in silence when you hear night moanings of patients. Personal experience becomes the combination of ravings. The memories about immense territories of children playgrounds that turned into construction sites of blocks of flats and grey gigantic frameworks of houses where the emotions of fear, thrill, curiosity, glumness, secret and joy used to mingle. Everything turned into ruins with its sad aesthetics, memories and… premonition, feeling of coming events. Gentle and close human horror. Grey colour is as if zero. Stagnation. A pause before action. A halfway between something immensely big and intangibly small.
Painting:Acrylic on Canvas
Size:63 W x 78.7 H x 1.6 D in
Ready to Hang:Yes
Packaging:Ships in a Crate
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a wooden crate for additional protection of heavy or oversized artworks. Crated works are subject to an $80 care and handling fee. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
My field of research covers topics such as — the state of extreme reality, the opposition of nature and emptiness to human-controlled chaos of objects, the feeling of repetition of various senses and the emotional state of impending reality. An access to the personal stories of the past delusions is also through the exploration of a collective subconsciousness. I often get ideas and create works from my memories of a childhood, travel experiences, different cultural and geographical contexts. I still cherish the feeling from childhood that I enjoyed creating my own imaginary place in a large enigmatic structure. I am interested in both physical and psychological responses to form, space and surface. In my artistic practice I search for the undefined boundaries between materials, dimensions, and high art versus low art. I find it very fascinating to create a one-off phenomenon with materials that are available to anyone. I move back and forth between the two extremes of organic and artificial things, and two and three dimensions — static and dynamic, light and shadow. In other words, my artistic field is meeting point between sculpture, painting, installation, and ready-made. It is an improvised process, something purely intuitive. The objects give me the keys for the pieces. Sometimes the idea does not emerge 'a priori'; it is the research process that configures an idea — generating new connections with different 'words' is like taking the significance of an object to its limits. The way I install my artworks enables me to layer the space that they establish around them. I see this as a kind of framing, which allows for new perspectives and relationships to evolve among the structural shape.
Artist featured by Saatchi Art in a collection
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