top of page


90x140 /oil, acrylic, pencil, rope, paper/


A piece that was a turning point in my painting practice and technique. It took long and consistent process of thinking, balancing, building composition. I tried to avoid the portrait features and still save the human figure presence, which is essential, both aesthetically and conceptually, for the ideas I want to explore. Seeking for stronger emotional expression, I afforded more freedom in the approach, the brush stroke, the use of paint as a substance and colour, the interaction between transparency and thickness of the paint. Mixing media, especially acrylic and oil paint, was another challenge. Half red rope added another symbolism and piece of paper appeared as if somebody stuck it there by chance to interpret the depiction in poetry. Initially the piece’s theme was considered connection between human beings /male and female/, but it took another direction and I translated it as a metaphor of the idea of the sinner, banished from the Divine Land of glory and piece, always struggling, trying to find direction and redemption. I believe I was somehow provoked and inspired by the exhibition of the Spanish baroque artist Jusepe de Ribera – Art of violence /Dulwich Picture Gallery/, regarded often also a heir to Caravaggio. His dramatic depictions of saints and martyrs are far more realistic and anatomically sound, but even though related to religion, the topics of Last Judgement are deeply implied in my interests and quests.  

This painting still in process, but it is very important to me as a break-through in my practice. I am still searching for the right signals and innovative methods to build a concept through painting, but developing my technique is also significant and evaluating point. Leaving the drawing visible and fields of the surface unfinished is an intentional approach, which reinforce the expression and awakens curiosity. Both composition and technique are more abstract than in my previous art. Contrast between neutral ground and intensive colour itself supports visually the notion of Dualism that I am investigating. As a theme, that dualistic confusion is literal and easy to translate in the ‘interweaving’ of two silhouettes – allusion of the same women, but diverse in the sense of perception, and yet the playful smile does not reveal any sign of dramatism, which I want to deliver more as suspicion and intuitive anticipation. I was strongly influenced by the artist Rebecca Fountain-Wolf after visiting her exhibition at Someth1ng Gallery.  Especially in terms of applying masterfully figurative art of a great merit to an abstract surroundings and background. Her themes are centred around the femininity, but female body and presence are also main part of the visual language in my paintings.



120x100 /oil, soft pastel/

bottom of page