I’m investigating an internal movement of the objects in the painting as well as of the painting’s subject; a situation that is not present on the canvas in the current time. What has happened an instant before, or what is going to happen an instant after intrigues me. My goal is to provide an emotional and situational context – when talking of grief or joy, for example, we do not envision a particular moment of time filled with objects; we experience these feelings spread over time. In film this goal can be achieved by music, and in painting I accomplish it with color and shape.
To show more clearly how objects move on the canvas, especially if these objects are static by nature, I contort geometry, which allows achieving internal strain. Similarly, I can avoid colors as they tend to distract from the movement and from the deeper feeling of details, which in the real world tend to get washed by movement. At the same time, when I express the color I still use a limited palette, consisting of three to five colors.
I'm currently working on a series named "Psyche", which depicts various emotional and psychological states. I'm mostly interested in complex emotions, such as those that one experiences when reminiscing or fantasizing—when one is completely absorbed by oneself, looking into the self, and there is nothing external that can prevent being oneself. At such moments the face becomes sculpturesque,
and the colors in which the person sees the world become symbolic.
In "Nonfeasance," for instance, I portray a feeling of desolation that a person can experience in a new situation, and there is something he or she could have done, but for one reason or another did not do.
This applies to all the pieces in the "Psyche" series, but I also aim to involve my spectator in the creative process, to achieve recognition of the emotions I'm portraying. For this reason, descriptions alone are incomplete.