ARTIST STATEMENT:

A SCENE FROM BIOGRAPHY For a couple of years my everyday reality had included a possibility of military mobilisation. I remember myself sitting in front of TV screen and imagining all possible scenarios of my own death. I confiscated detailed images from war stories, reports, photographs, funerals, life itself. I recall thinking that in any war, despite all modern technology, at some point a man on one side must face a man on the other side. I started glorifying an imaginative enemy to the size and form of the bodies displayed at the gallery. I wanted to exemplify fear as a potential power concentrated in extremely built bodies that might escalate in any unpredictable form of human behaviour. I also wanted to typify its sterility. Permanent, but still unpredictable, death treat has never escalated. Slowly, it turned into an obsession. I became hunted by violence, brutality, power and my own fear.

WHY I PAINT POLITICS Most of my human and bizarre images exist at the margins of everyday life. As an inspirational resource around me, they involve the challenges of our time and collective search for a lost God. When developing an idea, I am searching for the vital, instinctive, negative energy. It appears, especially in modern society, that this vital brutal energy is more productive which coincide with my belief that all processes lead inexorably to destruction or entropy. Even if this may be difficult to accept as a part of nature we succumb to the processes. This subordination is our reality. It is what we live and it is what I paint.

AN ATTEMPT TO CREATE ART Along with disturbing figurative representation of everyday images and situations, I tend to reshape and reinterpret human form with unsettling intensity that mirrors instinctive response to social environment charged with strong presence of brutality. Images like essential human content and an intimate violence of real things, are used to shift reality to the edge of a dissolution where the line between figurative and abstract becomes unrecognisable. An application of photographs, collages and objects is brought to the paintings to serve two paradox objectives: (1) to bring fictional stability of flesh-and-blood realism, and (2) to reveal reflections of personal and collective subconscious's.