About my Work

This collection explores various manifestations of the human condition, primarily through the portrait. Each figure is exposed to the viewer through a forceful act that detaches it from its natural environment, leaving a fierce trace - a mark - on the image. This occurs in a precise, photographic instant of which the subject is aware. What remains is a figure stripped bare, floating in space: presented as live tissue, cleansed of all cultural residue. Its expression is the last and only grip on reality.

The images appear as if hatching into the frame in a spasm-like manner, coerced into confronting their current state of being. Their expressions - involuntary smiles, unconscious compulsive gestures - are of questionable nature, and the internal tension they emit is unmistakable. What is illustrated is what remains after all other emotions have collapsed: a range of feeling reduced to its primary register - lust, desire, anxiety - constantly simmering beneath the outer layer of what we call culture.

Beyond this internal tension exists an external one, emerging from a Consumer-Postmodern reality. Is the viewer responsible for the image's current existence? Is the figure depicted perceived as the other - or as a reflection of the self? Do we project these states onto one another?

The figures appear as products of a brutal culture: at times victims of humiliation, specimens of a scientific-technological-warmongering apparatus. They are culture refugees, survivors — expelled from their natural place and captured in a state of violent estrangement, suspended in a virtual non-place. Whether the world created them or they define their background remains deliberately unresolved.

Identity is consistently destabilized. The traditional dichotomies - man/woman, old/young, human/beast, normal/abnormal - are put into play, provoking an immediate emotional response to the visual landscape we have grown so accustomed to: the relentless flood of images from all directions - gaming, virtual graphics, pornography, terror, invasive advertising. The painted figures serve as a reflection on this condition, transformed into icons and reference points that embody the extremes and the violent nature of this moment. This representation feeds back onto the viewer: does one accept or reject what is being shown?

The more competitive a society is, the more consumption depends on escalating excitation - and artistic expression follows, turning more explicit. This is not a pursuit of the sensational as provocation, but as antagonism: a friction meant to inspire thinking about these brute times. The more explicit an image, the deeper the impression it leaves, and the longer it resonates. What remains are discomforting questions about how we see other human beings - and about a culture that imposes its logic onto the most elemental human emotions.