In my artistic practice, I am balancing on the edge of abstraction and figurative forms. My relationship with geometry and abstraction evolved from my interest in the construction and function of the machine. The main motive I took up in my doctoral thesis was the idea of a growing, unrealistic mechanism. After defending my doctoral dissertation, I deepened my earlier painting interests, gradually moving away from the illusory presentation of concrete forms towards depicting sophisticated processes taking place in a complex system.
To illustrate the multi-track ways in which an organism operates, I use compositional systems created by juxtaposing geometric shapes. Fascinated with contemporary and futuristic issues, modernism aesthetics, I create images dominated by controlled chance. My paintings are neither fully figurative nor completely abstract. Repeating is the basis of my painting practice. My cycles of paintings are based on repeating simple, strong graphic elements, and purely abstract ideas. Sometimes the result is purely abstract cycles, sometimes the figurative features are more visible.
My actions often refer to the work of the French Dadaist Francis Picabia. Some of them are an attempt to transform the main motif of the painting ” Parade amoureuse” from 1917. I analyze the complicated construction of Picabia, I build it from the very beginning, creating a growing organism. Individual images cease to function as independent objects, the relationships between them become important. Each of the paintings is a kind of continuation of the previous one, my endless conversation and romance with geometric motifs, juicy colours and strong black.