My creative path consists of cycles of works which create a picture of my quest in painting. One could say quoting Basho’s words that this path is more of
« a process of discovery rather than a process of creation ».
In the rhythm of African drums, of flamenco heel tapping, of the Argentinian tango, of waving dresses of dervishes, my new paintings are being created.
Following the development of the dance, from tribal dances to modern dances, I got inspired to travel into the world of different epochs and to experience dance from all over the world. Here I come to my small discovery – creating my own choreographies on the canvas, which are inspired by various dance styles.
Figure in motion, the dance has been my great inspiration for a long time. I devote my new cycle mostly to my deepest dreams; to myself and mainly to human being and to my love for dance. I wish to move choreography ascribed to the field of dance to the world of painting, to turn the stage into the canvas which could change me into the choreographer in the painting. This is due to a combination of my biggest passions: expressing myself in the painting and in the dance.
In my new works I try to change the dance of the figures into the rhythm of forms in the space. Space becomes an important part of the painting. It seems to penetrate the form of the figure, which by emerging or disappearing from the space, creates the total integrity with it. Background is no more stable, we get the impression that it is seen from dancer’s position ; it seems to wave, swirl and cut the composition, which guarantees bigger dynamism. Using texture, line, colour, light, form and composition I create my painting choreographies, in which I want to highlight the rhythm and movement as the main components of the painting.
Rhythm, which is record of movement in time, in my painting is a rhythmical cutting of its structure. The line, which is often stretched like a string, sounds, pulsates with its light, it is sometimes quivering, uneven and ragged, it vibrates with uneven sound, it sometimes is audible like a trill, flickers sometimes a short staccato, sometimes loud and distinctive, to produce forte, in some parts of the painting, however, it is scratched down sorely to the lively whitness of the canvas or it is simply a throughout hole – a scream of space.