When we are wearing something provocative or extremely nice then, as a rule, we first look at this garment and then at the person. But the perception of clothing does not happen without a man. As a result, personality comes to the fore. Our thoughts will associate the extraordinary clothes with a man in front of us. We will ask - why did he wear this? What does he mean by this?
In another case, if we are wearing something discreet, greyish, comfortable, then most likely we will directly focus on the person.
In both cases, whatever one may say, we come to a man - a personality. And if a person is not present, but garment or objects refer to him, we still will think about the man who used these belongings.
Therefore, everything is always about a person: about you, me, my friend, a man in a jungle, a queen, each of us. And art is to help clarify the relationship between events occurring between people and the relationship of person to person. And this is a fairly natural process. According to the scientist Marcus Raichle, in the default mode network, we think about other people.
So, when I think about other people, it is much more important, not how they look, (although I would rather choose aesthetic beauty (sorry for that) than a freaky garment), but what kind of person is in front of me. What's inside of him? What an aura he/she has. What is he/she stands for?
Therefore, if I depict a person, I will go for my impression from him, as a physical embodiment, but not as a figurative perception of a volume filled with bones, blood, shit and environment around him.
Material emotion. Portrait of a man, 2021, paint, spray colours, paper on hardboard, 117 х 155 х 10 cm.
Keeping this in mind, I choose the general perception of man as a kind of energy that everyone can feel. One can be quiet and shy, another with incredible charisma as just like fire.
Portrait of a man. To be exact, it is energy (halo) around his head. It is always white, which is covered with different shades of colour. It is my subjective perception. Anyway, all art is subjective!
The papier-mâché technique has become for me as an element of chance and circumstance. Only because I ran out of materials during the lockdown and could not quickly buy materials, I started working with what was in the studio. Paper. It was pure coincidence. But the accident that I was waiting for and was ready for it. I was in a search ... I was looking for ways to express emotions in the material. And the material itself came across and suggested what to do. Such accidents are very natural in life. They surround all materiality and form it.
I put paint on each sheet of paper, it is due to the technical process, but it is also the process of gaining the deepness, and richness of the colour. The light in the room will complement the work, and shadows in the hollows will become thicker, the colour will change from white to something else. It will be poetry of the same colour. The colour will live and change over time.
Important that this material loses its identity. If, for example, I take wood, then artwork will be covered with a painted WOOD. The staff is very loud. And paper is like a woman, pliant and smart when it is needed she can declare her own rules when she is happy supports the creator. I think we found each other, for now. We have no differences in opinion.
What is more, although the theories of Marcus Raichle are not recognized by everyone and are seriously criticized it seems to me that there is a connection between the creative process and being in some kind of space during art-making. Otherwise, how else can you better characterize the creative process? When your brain works at all 500% and you are in a state of something, and at the same time, incredible things turn out.
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