Meat & geometry #12 Painting

Painting is my main tool of describing the world, it serves its glorification or sometimes negation. Simultaneously, my actions constitute of a record of emotions and observations, often subconsious, expressive, and very intuitive ones. They oscillate around a person, his or her dependence on others, mutual influences, constraints, or manipulations. I am interested in life, energy, the body and all biological processes…and fascinated by that which has its own anatomy, weight, scale, heat. In the step-by-step process of their transformation body images are deformed and deconstructed so they can be assembled anew. I strive for simplification of form. I reduce superfluous things in order to achieve more intensity and credibility in my message. My creation, despite being expressive and figurative, brushes against abstract organic forms. In art, I value freedom above all – my own and that of the recipient. I avoid overintellectualization, I don’t pierce my art with a gibberish relay of socially or politically correct information. I also leave viewer with the freedom of interpretation. I don’t try to be literal, I leave most things unanswered often by choosing a suggestive title – still enigmatic, but slightly directing the viewer to my train of thought. I use photographic material in my work. Usually they are photos found on the Internet or in the press, or stills from movies. Just the press itself is an unlimited arsenal of materials and ideas for collages on paper, which I use as sketches for my oil paintings. What also helps me in the process of creation is the ubiquitous chaos and crowd surrounding me. The hypodermic pulse of the metropolis having its own life, and at the same time the anonymity and alienation which accompany the city life, are my impulses for the artistic expression.