My paintings can be characterized as expressive colourful abstractions. Contentwise, they are intangible, autonomous fine art specimens which expose and contemplate my inner world like an open book. They originate freely and tempt the beholder into their own liberated experiences. From the paintings, however, arise mirage-like segments that seem almost within reach.
The artwork is composed of multiple layers, a dynamic interaction of my conscious marks and spontaneous reaction to the contours in colour and unfolding “the story” therein. Diverse in character, invariably uncensored, primordial, eruptive strokes bring colourful grandeur starting in near monochromatism and ascending irrepressibly toward a spectrum of rainbow colours. I pursue my personal frames of mind and intimate states of soul and spirit by using the entire palette. As Wassily Kandinsky would have said, colour, like music finds the most straightforward avenue to the soul.
The paint coatings string side by side overlaying and communicating reciprocally, synthesizing and vanishing. This is how unique and softly remarkable alloys of colours and endlessly diverse traces originate. Abundant coatings of oil paint conjure up thickness and gently awaken texture of a painting joined by entirely transparent interspace. The state on the surface depends on the occurrences underneath as well as on the stretching of the colour membranes at lower levels. They partly but decisively break through onto the exterior, or alternatively subtly radiate all the way through it, playing a vital part in marking its colouristic occurrences and bringing up a dimension of illusionistic deepness.
The painting epidermis is getting a more and more interesting and telling art moment. Thickenings shape an outstanding superficial motion, which has an organic design.
Although the structure becomes a stronger artistic segment, it does not veil motley art happenings existing under materialised concreteness.
The paintings represent free, open, and dynamic composition percepts not confined by the rim of a canvas. Namely, they cross its frames and silently fill up the wider space. These are specimens, overwhelming with great variety of graphic events. They are living, pulsating artworks born from an inner urge, vibrating in a wider space.
At first sight, there is nothing figurative in the abundance of colours, lines, shapes, and structures. Along the observer’s open and punctilious communication with each painting, shapes of determinable design enter visual life. They are more visible to some than others, depending on the individual’s immersion into the tissue of the painting and his/her readiness to perceive their essence. Despite their impact on the mirage level they allude to the concrete reality. They are mostly articulated in figuratively designed shapes.