Life is composed of more than mere facts; there’s something more to a scene of two people sitting side by side than the fact of two people simply existing in a setting, something between these two and the surrounding world. Something deeper – ‘the spiritual within matter’ to quote Andrei Tarkovski, one of my main artistic influencers.
Call it impressions, call it spirituality, even the ethereal level of being – this kind of depth of life is the one I study in my art.
Harmony and chaos are contained within each other, and from within the mixture intriguing aesthetics emerge. As an artist I seek to examine the aesthetic acceptance of the beautiful and, furthermore, where the sense of the beautiful is derived from. To achieve this, I play with minimalism; I create art out of the delicate details of everyday life someone else might not consider worthy of admiration. I believe that attentiveness towards the beautiful in a world is one of the most straightforward ways to achieve the state of perfect receptiveness when it comes to perceiving the ethereal, spiritual quality of life – the emotions and impressions in their purest form, unbiased by the society.
In my works I also play with different means of art in relation to time and light. Whereas a musical piece builds up the atmosphere and enfolds the listener in impressions gradually, a sharp twitch of an arm or a three-word-long poem can affect in a matter of seconds. Light, on the other hand, is a subtler, softer influencer – yet a comprehensive one, since it evokes both physical and spiritual reactions. For me light is a perpetual inspiration, present not only in my photography and performance art but also in my music and writing.
Through art I wish to capture and study these phenomena and, moreover, express them in a manner from which others can find comfort and inspiration. However, I believe the artist should not impose their ideas on the audience but exhibit them without serving ready chewed meals for people to simply stare at. Great art offers thoughts but leaves space for interpretation and the audience’s own impressions – for what else will an audience member have to convince them of experiencing something remarkable than their own impressions. My position is to offer yet, consequently, also to allow to decline.