The velvet poodle Painting

I perceive my paintings as windows to other spheres. I have two basic lines and that is depicting heads or working with ornaments. I consider a painting to be a magical object. I come from a classical study of painting. However, I try to develop the painting further and apply playful processes of mixing different emulsions and materials. I usually paint individual paintings for a long time (sometimes years). For me it is a process of my own research and exploration of the construction of the painting. I create individual prototypes of paintings. I would like to eventually work my way up to creating entire cycles or series. Sometimes I return to a subject and rework it again. Painting is for me an ideal means of expression suitable for introverted and contemplative work in the studio. I am originally a conceptual artist and craftsman. I returned to painting and drawing when I settled in the Jizera Mountains. I like deep forests and ancient stories. The wilderness of nature, history, mythology, personal experience, cosmogony and the human body are an abundant well of inspiration for me. Technique: I create paintings on stretched natural canvas mounted on a wooden frame. The surface of the rough natural canvas is treated with several layers of sepsis. I continuously sand and reapply the sheps until the surface is smooth. I paint by creating different underpaintings, using a brush or spatula. This way I have several paintings in progress at the same time. My method of painting is based on the fundamentals of classical painting, which I learned from the old masters at art schools. I create my paintings using a continuous layering of colours, sometimes intervening with a spatula or pastel. I also take the liberty of adding various emulsions to oil paints such as ink, watercolor, acrylic and others. Occasionally I change the base material and replace the canvas with brocade or velvet. I always indicate all experiments in the description of each painting. I usually offer classic canvases stretched on a frame. I sew the canvases and impregnate the final painting with damask oil. Sometimes I recycle old frames or repaint old reproductions. If I paint classically on canvas. I use acrylics for the base, basic underpainting. Then I continue with oil or experiment with other emulsions or pigments. If I create a painting experimentally, I always indicate this in the painting's caption. Paintings stretched on canvas can be hung on the wall.