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Painting: Oil, Acrylic, Gouache on Canvas.
Through the portrait as a creative form, it is possible to visualize the facial features in an artistic manner, and in that way to emphasize the dimension and significance of their experience, and therefore the movement of the soul. The world from which I draw elements of reality is not imaginative but visual.
"If the way of observing the world in order to extract elements from it, that is, aesthetics, varied according to epochs, the relationships of colored forms among them, that is, the technique was always unchanged." What belongs to a certain reality is made of art, it is drawn from the theme the painting. I reveal the image as my own viewer. The core of these works are people who have found themselves and are found every morning on a bus, including myself, their psychology and their travel paths. Juan Gris once said that the subject becomes a scene of the moment the observer has watching him. By putting myself in the role of observers of these people and their journey, I go on a journey that poses the issue of identity. Is it a search for yourself? Perhaps it is recognition in the mass of semi-identified portraits, and it is caused by the eternal drama of human existence. It's a story for ages.
By treating the figure in the images, I take it out of the anatomy and deform it, forming up to almost an amorphous form. The patchy lines of red and orange tones are broken with blue and green tones, and the presence of drawings gives the figure rhythm, three-dimensionality and create the illusion of the movement. Saving the figure into a space, which does not exist technically in a three-dimensional aspect, is a kind of consciousness and subconscious mind. English painter Frensis Bakon, whom we associate with abstract expressionism, and which most influenced my work, is to make deformations on the figures he used using rungs, photographs of the body in motion, and photographs of animals. Bakon tells us about photography as a fascination of contemporary artists, while my work contains elements of rebellion and negation, in which the fear of an informative bomb is dominant, whose consequences, among other things, are digitally generated images and their interactive manifestations with hysterical speed of change. On a formal and thematic-motivational basis, a critical attitude towards the era of mass communication is emphasized, where the virtuality of contact is enhanced, and the level of closeness is abolished, non-verbal communication, and the eyes of two beings. The author in his figural appearance also exists as a creator and as an observer, who at the same time experiences visual elements: color, shape, contrast, play of light and shadow ... By this interpretation, we could understand the exterior of the image of the image as a factual reality and what is actually the case in street art and graffiti and an important starting point for contemporary poetics.
The division of the visual field (canvas) to thirds and fifths through geometry, which many painters in history considered to be an ideal partition, contributes to the drawing of figures and portraits to the forefront, since the depth of space, perspective and plans are removed from the picture . Forms approaching geometric figures are colder than those who move away from them, complex forms are warmer. By opposing the geometric and semi-amorphous complex forms (anatomically deformed figures), their intermingling and collision, I tried to achieve harmony within complicated compositions. By the weight of color, its almost religious symbolism, the way and the direction of its application, I emphasized the movement of space around, sometimes, static image actors. The heavier, earthy tones combined with black and faded blue tones serve as a contrast to strong, pink and accented figures.
The square format of the image (the square itself as a form) through its symbolism, which, unlike the circle, invites us to stagnate somewhere, to make the things surrounding us shape, make them "more serious", more stable, immutable. The square is the archetype of the order in the cosmos, or the perfect measure for man. Karl Gustav Jung, a Swiss psychiatrist and founder of analytical psychology, classified the square into the line of old symbols of the archetype (next to the mandala and the cross) and attributed it to the symbolism of perfect harmony.
The square of the square harmony is filled with a colonnade of portraits grouped in interaction, which resembles scenes from some of the images of James Ensor. Their faces were treated almost like theater masks, vivid colors and expressive facial expressions. Are they just masks or are figures behind them with all human characteristics behind them? Jung was still talking about masks and called this part of our personality persona. Persona is formed for the purpose of adaptation to the environment, under the influence of values, culture and social conditioning. Is there a real measure of a mask that a person should wear, which would have a protective function and where collective psyche does not endanger individuality.
Expressionist approach to painting, wide moves, strong and intense coloring, the presence of drawings that keeps the figure in shape tells about the creative energy I have at the moment of making the image.