Two as One (like none, like everything) Painting

Exploring the world around me in relation to my own inner world in an introspective and autoreferential way I am trying to connect motifs of the real and surreal, of the actual, imaginary and subconscious in the narrative scenes, leaving enough space to observers for their individual interpretation. I reflect while I paint. Preparation for paintings are sketches that emerge inside my head around the clock. When I get hold of my tools I work spontaneously and fast, very often on more works simultaneously. Amongst my works there are those that are obvious and easily comprehensible and yet there are those that are less easily decipherable, there are symbols and elements from the real world that surrounds us, which together make a collage of emotions, states and words. Collage as an art technique is an integral part of my work, as well as drawing, which comes at the beginning and at the end of everything I do. Colour and drawing supercede and complement each other in the working process while the paint roller with white tempera partially annuls them, creating transparency or dimness. Vanishing turning into new creation. A painting is created in layers, using trial, error and success to achieve the desired final effect. Taking off and then adding new layers of colour and drawing, a worn-out surface is obtained which is contrasted by bright details. As in life, in which the most unusual combinations of emotions and sensations coexist simultaneously, my works also contain various mutually opposing elements so it seems that my work is a continual process of transferring impulses obtained from life into my work. Everyday experiences and information are turned into another state of matter. All that is mixed and something new emerges in the form of a painting, sometimes unclear and ambivalent and often unexplained because I move on, in my work as well as in life, undividedly and a bit too fast. Work and life processes are equalized. Private and individual is put above general and collective. I believe that the best way to get through to the observer and to my own self is through a personal prism, which is essential for my overall development as an individual as well as an artist. Female characters have been present in my work since the very beginning and at first glance they are the main figures.