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I DRAWING 

PAINTINGS

Art is a way of knowing one self

I would start with the words of Alvin Toffler: “The illiterate man of the XXI century won’t be the one who cannot read and write but the one who doesn’t learn constantly.” I will paraphrase – by drawing, the artist constantly learns. This aim ennobles his efforts, but only the path fills them with sense, which inevitably passes through the wish of knowing oneself. The efforts are targeted at a clear artistic answer and it is – truthfulness. It catches the vibrations of the spirit beyond the material c distinctness. If, from the today’s point of view, I would have to clarify further my positions in this sense, it is my right to be humbled by the greatness of Nature, and my efforts are inside her toll, in the toll of the “spiritual” nature – with its abundance of forms. It is an immeasurable teacher of the beautiful. The initial femininity, as a gift of nature, is an eternal provocation for me. This harmony is strong and real. It’s beyond the reams of time, which washes us with its advertised, aestheticized, fake “beauty”, fashionably current, while in fact transitory in its volatility.

By nature, I am curious and “tempted” by various materials such as: pigments, oil and acrylic paints, colorful lithography, aquarels and Plexiglas’s, and others. It’s specific helps me in expressing more legibly my ideas on the canvas, paper and transparent surfaces. The different concepts provoke me for new work realizations. Recognizable images such as naked bodies, mandalas, bridges, chains, roots and others, that tell a personal narrative. The colors, planes, lines or the rhythm of the forms build the sense connections in the paintings but in a surrealistic coloration. I wish to give to my work a modern plastic sensitivity in a new productive sense. The recognizability throws a bridge across the abyss – a prototype and a artistical image.

I often ask myself the question of the autonomy of the art today… Actually, the images are present everywhere, aggressively, overly saturating the esthetical sphere of the human perception and the unspoken understanding between human and the nature, as if it loses its strength. The harmony steps out, to create space for chaos. The artist has been sunk into – a plurality of personal positions, of socio-cultural traditions, of philosophic paradigms, of utopian perspectives, but he feels more and more dissociated psychically.

And so, the electronically generated reality, not only ads but it also replaces the traditional material of goods and materials, as it drags along the individual in the insidious stream of the virtually realized wishes. The modern thinking desacralizes the image. In this sense, the unified figures, inhabiting the spaces of the paintings, express the idea of the loneliness of the individual today.

I think that here, I would have to get rid of the polemical situation about the steadfastness of the personal taste and the steadfastness of the coercion from outside. The built in connections, in different contexts, intertwine mutually in situational puzzles. The plastic ditch of the paintings is inhibited by allusions of real objects that have been integrated in a personal way. But the casus – art for the public or art for the author will always be current. I would add – where the boundaries of the artistic identity, or it has been sunken into new psychologized “realities” from the author. It seems to me that the natural, critic reflexion of the author, to seek support in psychologized of the phenomenons in art. The ideas initiate the transcendal boundlessness of the earth of the “familiar” visible reality, and still, as a testimony of the time, in which they occur but with a look directed inwards/beyond.

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