My non-objective works occupy an abstract expressionist territory where there is no direct reference to anything in the real world. The paintings have their own logic and existence, without messages or illusions. I am interested in the painting as an object.
The painterly process is delimited by the chosen surface, which forms the boundaries for the experiment and a bodily interaction with the canvas. I build color, gesture, and composition in many layers — sometimes according to a simple procedural rule set, other times the strategies are more complex, based on a mood or a certain inner energy.
The paintings often consist of hidden or obvious structures, born of both spontaneity and experience. Color is a fundamental element, just like the gesture and the pace of the individual stroke. There are no restrictions on the choice of materials. Patches of canvas are included equally with oil/acrylic paint, varnish, spray paint, oil chalk, or graphite — everything is allowed.
The monochrome patch paintings are almost minimalistic and follow a simple set of rules. The experiment is, in a way, the same: stroke, color, and composition.
In my figurative paintings, I have a different opportunity to work with light and shadow than in my non-objective works. Often, I base them on my own nature photos. The presence of the motif and light/shadow has led to monochrome exercises in several paintings, and I also explore the texture and transparency of the canvases I paint on.
In the combined paintings, the figurative motif is included on an equal footing with abstract elements in a composition.