I have been intensively working on developing and refining my art practice, focusing on painting, adapting sculptures, newspaper works = colour fields. Each direction presents unique challenges and opportunities for exploration.
Painting and Drawing
Working with oil has proven to be more demanding than I initially anticipated, particularly in building compositions and refining techniques.
Two of my current oil works have been especially difficult, forcing me to confront the complexities of abstraction and composition. I’ve been deeply researching what defines a strong abstract painting and experimenting with these principles, though progress feels slow.
A recurring element in my painting process is the use of scratched words on plywood. However, I realized that not all the words I select create sharp enough connotations or associations.
For instance, in one recent work, I used the words Осень (autumn), Тыква (pumpkin), and Пробка (traffic jam or cork). While these words emerged organically, starting with the seasonal tones of autumn, their connections felt weaker than I intended. The word Пробка in particular felt too ambiguous, offering multiple interpretations that didn’t add depth to the composition.
This reflection led me to formalize a strategy for word selection. I now aim to always use three words: two that form a strong dialogue and a third that introduces contrast or tension. This triangular relationship creates a more dynamic interplay within the artwork. Additionally, I’ve begun reflecting on words from my childhood as sources of inspiration, which feel more personal and layered with meaning.
Colour Fields
In my exploration of colour fields, I recently completed a large black colour field, nearly two meters wide.
Words from the social media presentation: "This work is about resonance in absence. The crumpled texture suggests layers of movement, tension, and compression, as if each fold holds a moment of struggle or a fragment of memory. The silence here is not empty; it’s dense and vibrating. The materiality—the newspapers—grounds it in the physical world, where information overwhelms and decays, yet leaves its imprint. The act of shaping and arranging them becomes a kind of choreography, echoing the unspoken, the pre-linguistic emotions that stir deep within us.
By naming it “chorus,” I reflect on the unity of disparate voices, bound together in their shared quietude. It’s a reminder that silence can hold as much power as sound—an invitation to listen, not with ears but with a visceral sensitivity to what is felt but cannot be said."
Creating this work was an intense and emotional experience; the blackness felt like something inside me that needed to be released.
This process led me to create another black piece, integrating wood and found materials. However, this second work feels unresolved. While it draws inspiration from Louise Nevelson’s art, I don’t want to repeat her approach but rather create something distinctly my own. The tension between the fragility of paper and the solidity of wood remains compelling but requires further experimentation.
On the other hand, I completed a small blue colour field with yellow wooden elements that feels more resolved.
Words from the social media presentation: "The use of recycled materials, screws, and wood speaks to themes of repurposing, deconstruction, and reconstruction. The juxtaposition of organic, chaotic folds against the sharp, structured geometric yellow shapes creates a duality - soft versus hard, fluid versus static, emotional versus rational. This work explores concepts of memory, the act of preservation, and how materials can embody emotional resonance."
This work carries a sense of playfulness and harmony, with a strong connection to my sculptural practice. It provides a much-needed feeling of completion amid the ongoing struggles with other pieces.
'Ceramics?'
I’ve also returned to exploring ‘extra elements’ in my sculptures. I was analysing ceramics, particularly about its connection to the earth. How does this material connect to my practice?For example, to me, rather I use upcycled newspapers which symbolize digestion and transformation, much like the gut, where recycling and renewal occur. I’ve experimented with combining already used newspapers from my old works to create shiny, tactile surfaces.
However, this process has been fraught with challenges.
Many of my pieces developed cracks, and the heavy use of sprays and other materials made the environment toxic.
While I’m drawn to the potential of this medium, I’m uncertain about committing to it further without finding a sustainable and less harmful process.
Next Steps
Across these directions, I feel both frustration and excitement. Some works feel unresolved and require more time and thought, while others give me a sense of completion and progress. I remain committed to refining these ideas, experimenting further with materials, and allowing my work to evolve organically. Each step, even the challenging ones, brings me closer to understanding my voice as an artist.
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