It was one of the most exciting moments in my artistic life. During the working process on this part and specifically on this work, I realized that I have synaesthesia. All my life I have lived colour together with emotions.
The first time I drew this
I was 12 (1996), and it was my first love.
This is my first oil work.
And I remember my physical feeling of happiness when I started mixing the oil on the palette.
Already at that time, I was trying to achieve the purity of only one colour.
The usual colour was not enough for me. I experimented with the perspective, shadow and light and the possibilities of ultraviolet paints.
But it was only an illusion, as now I understand both the colour and the very space of the work was too flat for me.
Then I even tried to integrate sewing, digital drawing and music.
But again, something was missing.
Then in 2018, I started to create volume from nails and threads.
I tried to go beyond a flat surface with colour.
But this is only now becoming clear.
Where did I go and why?
And suddenly!
Flash!!!
All information in my mind came together!
Kandinsky painted music and believed that only abstraction speaks directly with the soul.
I had one of the biggest impressions after I saw the original work by Rothko.
My sculpture practise - where I was missing the emotions of sexy colour
What I paint each time I had a strong emotion
Richard Serra planned that viewer walked through his works.
I can feel, see colour in time-scale and space.
I didn't choose a theme for my final work for a long time. It was the end and the beginning. That was what I think about the most now.
About my mother, family and my homeland.
The creation process became part of this story. One of my friends noticed - "you suffer a lot! Look in the middle of your work, it's like crying paint. The heart is beating in pieces."
I was part of this pictorial field. I was that colour. Mentally and physically.
I have been looking for a colour for a long time. Collected it and analyzed it. Made tests.
For two days, I worked on a colour scheme, for three days, I collected volume, and for a week, I balanced the entire colour field.
But the most important thing is the process of work! It was an extravaganza. I have not experienced this before. When this colour populated my studio, I penetrated its bowels. I moved and breathed with this colour.
This vibrant colour experience must be seen in life.
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