Spots. Lines
Spots. Lines. speaks through impressions – works that differ in rhythm and mood, yet are united by an impressionistic mode of perception. A strict, restrained line unfolds as a quiet, economical melody – while the spot emerges as a self-sufficient, multilayered form.The series brings together opposing principles – control and spontaneity, structure and dissolution. Within this tension, the viewer is led to the very edge of perception – a fragile threshold where form remains recognisable yet begins to slip away.Rather than depicting nature, the series offers an experience of contemplation – a way of sensing its fragility, variability, and inner beauty more deeply.
My style is actively evolving. I often question whether this movement is upward – yet in truth it follows where the heart leads – and that is what matters most. My works have become freer and more abstract, more painterly in nature. I work through series that gradually take shape as exhibitions.
A technical breakthrough both excites and inspires me – it has become a source of pride and motivation. At the same time, composition remains a challenge. As I engage with more complex subjects, weaknesses in my compositional thinking become increasingly visible – something I am consciously addressing. This, too, is a sign of freedom. Previously, I hesitated to approach complexity at all. Now – even if not always successfully – something begins to emerge.
Painting has often saved me from routine and inner stagnation. Yet there have also been extended periods of discouragement – months without inspiration or joy in the process. Exhibition activity, though it may appear motivating from the outside, gradually creates a sense of obligation. The need to constantly produce work deemed “worthy of display” can become burdensome. I no longer see this pressure as healthy. For me, the coming year is about restoring balance – returning to inner harmony and to painting as a space of freedom rather than expectation.
A technical breakthrough both excites and inspires me – it has become a source of pride and motivation. At the same time, composition remains a challenge. As I engage with more complex subjects, weaknesses in my compositional thinking become increasingly visible – something I am consciously addressing. This, too, is a sign of freedom. Previously, I hesitated to approach complexity at all. Now – even if not always successfully – something begins to emerge.
Painting has often saved me from routine and inner stagnation. Yet there have also been extended periods of discouragement – months without inspiration or joy in the process. Exhibition activity, though it may appear motivating from the outside, gradually creates a sense of obligation. The need to constantly produce work deemed “worthy of display” can become burdensome. I no longer see this pressure as healthy. For me, the coming year is about restoring balance – returning to inner harmony and to painting as a space of freedom rather than expectation.
