Abstract Intersections 2202 Sculpture

The plywood surface is completely covered with modeling paste. After drying, the surface is sanded. The strips fixed on a background that is further back are placed in the removed space. The formable plastic strips are covered with canvas. The coated strips are shaped by bending and twisting according to the space created in the image and fixed with staples on the background. The intertwined strips are completely cured with modeling paste and textures are created on them. After completely drying, paints are applied. In the final stage, glossy and matte water-based varnish is applied to the work. The plywood is not only the bearing surface of the painting, but also the space of the composition. This carrier plane is an area that creates an 'illusion', which has long been considered the most important skill of the art of painting. It is also a tool for physical depth. Because the artist is not content with the illusion of depth and brings the image forward from the carrier surface. It goes beyond the limits of painting and sculpts the surface, models it and creates layers. The artist pursues a unique process consisting of paint, gesso, varnish and transfer techniques to expand the boundaries of the technique of traditional canvas painting. Low-density, muted neutral gesso paints stripes rising from the surface cavities in very bright, high-saturation colours. Neutral large surfaces make bright colors more vivid and more interesting for the whole scene. Stripes rising from the hollows; light turns into the scene of shadow plays, which is one of the main issues of sculpture and relief. By combining layers of paint, surface, height, depth and different materials, he intersects the techniques and possibilities of painting and sculpture. The 'Abstract Intersections' series reflects a pure minimalist-abstract preference combining monochromatic and achromatic relationships.