AUTHOR’S NOTE
The concept of painting is based on the exploration of fairy-tale symbols, natural phenomena, social patterns, and societal myths stemming from ancient beliefs of the world.
The design of the paintings derives from archetypal symbols of human and animal life. Depictions of archetypal symbols are accompanied by abstract backgrounds.
These are transformed glimpses of nature, where I explore its geometric design, often featuring vertical bands of color, circles, or other elements.
Realistic symbols morph into new forms, and in their transformed state, they resemble images from the magical realm.
Ancient forms or primordial forms carry within them divine geometry, which they reveal throughout history.
Forgotten knowledge encoded in the symbolism of the circle, square, or triangle are ancient bearers of values of order and peace that are disappearing or inadvertently sought by humanity in the present time.
At times, certain historical records or various forms of human work are rediscovered, thus bringing vanished values into the present.
The theme set by nature through the nuances of optical light, the visible, is the main subject of perception of the visible world, which I ponder in my paintings.
Is there something beyond what is visible, something invisible, that affects us through the physiology of the senses, triggering different sensations as we gaze at the painting?
Can we, with our conscious mind, penetrate the complete
puzzle of the painting?
Is it necessary to suspend the conscious mind at some point to experience the entirety of the painting?
Similar questions relate to the definition of mysticism, which is ineffable or indescribable; these allow individuals to touch it in moments of its recognition, insight, or expression.
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