Text from the Exhibition catalogue:
The artist’s inner architecture expresses personal experiences in a subjective manner by means of the logic of geometry, space, seriality, repetition, and colour. Experiences, observations, perceptions, the adopting of symbols, techniques, and models, and the accepting of influences from the outer world, transform the source memory in the painting into abstract fragments whose basis is in the everyday spatial reality. Paintings, watercolours, and objects presented in this exhibition by virtue of interaction among them make up a jigsaw which a spectator attempts to interpret and, seemingly from nothing discover something – an association close and comprehensible solely to him or her.
The squared grid appears on the painting surfaces and in the very compositional arrangement by spreading out in all directions, thus making a reference to the world and its structure of which it is a part itself. By emphasising and mapping coloured surfaces as simple fragments of its infinity, the grid identifies the surface of the artwork as something complete and strictly organised. The grid that makes up the foundation of the painted canvas is disturbed by thick layers of paint that tend to fracture the established harmony. Free moves of the brush or palette knife struggle against the impression of the order, harmony, and compactness of the surface and are aimed at reorganising our perception of the artwork, simultaneously encouraging the spectator to change his or her point of view, establish unexpected connections between things and see them differently. Attention concentrated on space is important not only in the very artworks in which we draw connections between different painted surfaces and objects, but also has a bearing on the entire exhibition space. In the space, the geometric grid, repetitive series, and mostly rectangular painted surfaces and objects establish and maintain a balance by precisely identifying their own place, thus being part of a mise-en-scène created with the purpose of bringing into existence a compact and integrated whole. By combining paintings, watercolours, and objects, the composition has been purposely set up to function as a coherent whole which can be assembled, disassembled, and reassembled depending on the architectural space in which it is exhibited. The paintings show a tendency to spread out their two-dimensional surfaces into space while, on the other hand, the objects incline to be three-dimensional paintings rather than painted objects. This exhibition owes its cohesion to the thematic affinity that the artworks have with each other, wherein the ‘weaker’ one emphasises the ‘stronger’ one, and the ‘stronger’ one gives prominence to the ‘weaker’ one. The last but not the least important characteristic of this exhibition is colour. The colours in this exhibition are constantly in interaction, each of them (blue, green, pink, orange…) representing a return to the fundamental questions of composition as the principal topic. Freed from reference, the colours are reduced to the very essence, thus becoming volume, form, space, and light.
This exhibition achieves its full purpose in its communication with the architecture of the exhibition space, and is an opportunity for a clearer understanding of the character of the author’s artistic poetics. The exhibition at this point represents an overview of recent activities, as well as a cohesive unit and an opportunity to have an alternative view on the work. It is therefore important to come closer and discover the multilayered nature of this set of works.