Description of my work, making process and ideas in brief outlines


My paintings are concerned with nature and reflect its greatness, at the same time, its transience and fragility.

Following terms describe my painting practice:
geological processes, natural forces, tectonic changes; sand, volcanic ash and glass splinters as metaphor for transience; deserts, desert-similar or apocalyptic landscapes; shifts, fragmentation, erosion, drifting apart, movement, entropy, time, space, memory, history, fragility, vulnerability, passage, transition, changeability, light, shadows, illusion, chance, physicality; meditation, contemplation, concentration, engagement.

Making process:

Facilitation of the natural alchemy and interaction with the involved materials, simulation / imitation of natural processes, shifting, moving the surface and tilting, tipping the canvas with paint and sand, modelling, layering, revealing, covering, spraying, creating an illusion of 3-dimensionality; physical involvement, total experience, accident, chance and control; spontaneous, conscious; meditative, contemplative, concentrated.


Installations and sculptures reflect on the precarious relationship between culture and nature and deal with instability and vulnerability of human existence.

Following terms describe my installation / sculpture practice:
quasi architectural building methods; industrial / man-made materials, bricks and Perspex sheets, concrete, foam, residue of previous works, debris; displacement, dislocation, illusion, simulation; fragility, vulnerability, instability, precariousness, transience, finality, danger, absurdity  – meditation on the passage and the end of time.


Making process  

Building, forming, using building materials, mostly concrete and bricks, or surrogate of building materials, such as polystyrene and foam, as well as residue from previous works; improvised and planned, problem-solving, site-specific and temporal.