| ARTIST STATEMENT My paintings are based on feelings or inner states rather than specific images. When I make sketches, I try to convey this feeling primarily through color, contrasts, and large forms. The human eye first perceives the overall structure and color scheme of the painting, and only then begins to notice the details and symbolic meaning. This method took shape during my studies in the monumental painting studio at the academy, where the process begins with large forms and gradually moves to smaller ones, then returns to the large ones, allowing the work to remain visually cohesive. As I work, the painting evolves alongside my own reflections. A new question or thought becomes a new symbol. And so one thing flows from another until a complete image takes shape. Symbols and unexpected visual associations play an important role in my paintings. They allow me to fully explore ideas and go beyond a simple representation. My academic training gives me a solid technical foundation, but there is always a delicate balance between overworking, oversaturation, and the breathing space in a painting. It’s difficult for me to capture that moment, but it’s necessary to avoid falling into perfectionism and to stop with a slight sense of hunger and incompleteness. Once the main image, color relationships, and contrasts have taken shape, I disconnect from reality, from thoughts and questions, and enter a meditative state. A moment of complete dissolution and oneness with the idea. It is a fragile state, and an important part of the process is knowing when to stop. This approach allows me to intentionally leave certain parts of the painting unfinished. This incompleteness is significant. It creates a space into which the viewer’s imagination can enter. And then the viewer becomes a participant in the process of creating meaning. For me, a painting should not provide a definitive answer. It opens the door to reflection. |