Artistic Approach
Painting is an autonomous language. It cannot be fully translated into words. Visual art does not require explanation. It exists as a space of dialogue between the work and the viewer.
My work does not seek to demonstrate or to explain. I do not look for literary formulations for painting, because painting speaks for itself.
The viewer does not receive a ready-made answer — they enter into contact through sensation, through personal perception.
For me, painting is a form of inner exposure. It is neither a profession nor a task, but a deep necessity. When I attempt to directly represent a portrait or a still life, the work does not succeed.
When I express myself through painting or drawing, the work takes shape.
I paint when I feel that I can no longer not paint. This state accumulates internally. I can remain for a long time in front of the easel without doing anything. But when the inner tension becomes unbearable, the work begins.
Light occupies a central place in my work. It is my primary means of expression. Through light, I construct the inner space of the painting —
its tension and its silence. Light carries a dimension that is at once visual, human, and spiritual.
The human figure is often present in my work. The biblical theme attracts me not only for its spiritual depth, but also because it is immediately recognizable to the viewer. Through these familiar images, the viewer enters the space of the work.
For me, what matters is not what I represent, but how I do it.
Landscapes, still lifes, and figurative scenes are not genres or subjects,
but means of expression. I do not seek to depict a specific place or object, but the inner state that I am experiencing.
Portraiture is, in essence, a form of self-portrait. Self-portraits occupy a particular place in my work, as the artist is the one who knows himself most intimately. Even when depicting others, I pursue an inner dialogue with myself.
Black-and-white graphic works are closely connected to painting. The absence of color renders the image more ascetic. The fewer the means, the stronger the expression. Renouncing the superfluous allows a focus on what is essential.
I work primarily with oil, sometimes with tempera. These techniques allow me to work over time and to return to a painting after several years.
I do not seek to explain my works to the viewer. The painting must speak for itself. I leave an open space for dialogue between the work and the one who looks at it.