The theme of my paintings oscillates around the form of man and his personality distorted by the phenomena of contempo- rary mass culture. An ideal starting point for my pursuit became the history of the early 20-century circus, which engaged thou- sands of people and animals. Hidden behind the curtain is what we cannot see, but what we can sense though, as the stories of people creating a show are extraordinary. Culture makes a bow towards self-indulgence and I am trying to find this thin line between the real and the illusion.
“Curtain” (130 x 140, oil on canvas, 2013) is a painting that began the “Phoenix” series. The title motif often returns in my works. The curtain is a strong, theatrical form. Its weight and the light that falls on it just before the beginning of a show build up a unique tension. For me, the moment of waiting in the audi- ence is magical, absolutely engrossing. What is there behind the curtain? Undiscovered space.
In the painting “The die is cast” (oil on canvas, 140 x 170 cm, 2014) I refer to the title of a dice game, where I express my fears, anxieties, uncertainties ... all that art brings with itself. The game becomes dangerous when in the hands of two little girls. In the painting, light turns into matter, like lava emerges from the thicket of the background. And the children, unaware of the danger, play with fate.
The painting called “Horses”(oil on canvas, 140 x 110, 2017) is, in a way, a self-portrait, both in terms of form and content. Women-horses, dancing in the oval scene, emanate with emo- tions from euphoria to melancholy, aimlessly struggling with one another and their own shadows. The canvas is a commen- tary on the various states of the author’s mind, a woman torn between various vectors of her life - from family affairs to those related with creative work. The symbolic circus scene, just like a whirl, sets the deformed, crawling figures into motion to which they passively surrender.
The painting “Manufacture” (oil on canvas, 130 x 110, 2017) is my reflection on the essence of creation. Man and his creations, the return to the world of circus and horse stock were all shown as toys in the hands of the creator, while the mechanism in the background of the painting seems to be ceaselessly spitting out the parts of human body which are waiting to be put together. The agile hands of the women are designed to breathe life into those human toys.
IIn the painting “Black hole and white glove” (oil on canvas, 120 x 110, 2018) I seek to deepen my fascination with the stage, the circus and the theater. The invisible force that governs the fate of the world seems to be the main character of this spectacle. But there is something more - undiscovered space of a black hole that defies all frames - literally and figuratively. Both title concepts: the black hole and the white glove are enigmatic from the ontological point of view. The black hole is one of the great mysteries of Universe, fascinating and terrifying at the same time, whereas the white glove, the creative power, escapes the limits of experience. The style of the work is light, varying from the previous paintings. I draw my inspiration from the world of Walt Disney - fictional, but so realistic at the same time. I refer to the pop culture of the 1940s, the entertaining stylization seems amusing, making the theme look infantile, appearances, however, can be deceptive.