I do focus on vegetal world for couple of months already. This is nothing new for me as I’ve been finding inspiration in plants for years. For this time things seem to bring me hapiness since I’ve returned to what I’ve done before exploring the possibilities of liquid paint technique. These days the flat surfaces of oil paint get a new addings: some sort of ornement to sublime and destroy their presence within an composition at the same time. It took me some time to understand how important the excitement of an eye is to appreciation and comprehension of a work of art. Gardens, parks, flowers in vase or plants growing in pots seem to satisfy me and my curiosity more than any other ‘object of interest’ ever did before. For my thirtieth anniversary which is to come in august I turned myself somehow naturally to these ‘subjetc and spaces’ that I was not able to explore in my early childhood due to a heavy allergies. Nowadays they bring me joy and pleasure just as does the fact of transposing them into art. ‘Aux cyprès de Villa d’Este’ was the first of this attempts to interpret a feeling of the garden and was based on the previous experience I’ve got while working on moroccan paintings such as ‘A Garden’ picturing Majorelle garden in Marrakech and ‘Secrets of Marrakech’- a view on a minaret of great mosque in Marrakesh throught the gardens that surround it in 2012 and 2015 respectivly. But quickly I’ve shifted the attention to coulours and relations between them.
My first ever published illustrations for a story book by Milan Kališ, an young Slovak author, handle with both fascination and critique of urban life, just like the knotty, heavy jungle-like texts of the edition are. Milan gave me free hand to come with some drawings for the collection of short (and long) analysis of contemporary city life. This was rather challenging, as his writings are as complex and as detailed as could be and there was, to my eyes, no need to ‘illustrate’ these story or transfer part of them into drawing. But the idea came to me not to ‘base’ my illustration on text, but to create an independent art work to ‘add’ value to the artistic aspect of literature, better than to just describe with images what Milan brilliantly says. The trash tattoo-like or graph-like urban drawings in black and white appeared a clear option then to me, and as despair and efforts to get rid of it seemed to be the central point of his story-telling genius, I immediately thought the theme of a ‘sin’ would give the effect I looked for – not actually depicting the story on ‘other media’ level, but this could create a new story within the book based on the same kind of ‘research’ as Milan’s stories are. The choice has been made. Under the influence of my recent trips to the very medieval Avignon and Florence, I decided not to ‘picture’ the sin as an act, but I’ve turned to the medieval iconography of ‘sin-in-itself-pictured’. Giotto, Bosch, Dûrer etc. constituted for me the starting point of my research. The old playing-cards forms were another source of inspiration. The ‘seven deadly sins’ series was born and Milan accepted to integrate this to his book ‘ Rozdrásané duše ‘ ( – this would be translated as something as: Disjont souls).
The book can be purchased it any bookshop in Slovakia, or on-line here: http://www.martinus.sk/?uItem=218945
Signed and numbered giclée prints on fine art paper of these illustrations 30×20 cm can be purchased by contacting me by e-mail for 350 € (7 prints in total + international shipping included).
After being focused on ancient greek and roman art for couple of years, I’ve decided to turn myself to French statues during the 2015 summer. Two couples of paintings are the result of long studies in the Louvre musuem: first are mid-sized marvelous alabaster neo-calssic figures depicting young men, based on work by Pierre Julien and Louis Petitot, the other two interprete magnificent bucolique pair of marbles by Coustou, one of my favourite sculptors of baroque era. Every of these two pairs are concieved as a decorative elements to adorn an interior, following a principle of XVIth and XVIIIth cenuty ‘pendants’.
Slef-portraiting, the most decontracted and casual portrayal process for me. ideas of doing selfportraits come and go, sometimes I suddenly catch one and realize it, mostly on paper but canvas happens to get involved too once the pushing is too exuberant.
There is no mean od keeping an visual diary like Van Gogh or Frida Kahlo used to do, I just work and analyse my face when I feel like. Nevertheless, I can say there are some stange pushings making me relaise a portrait when something important is going on in my head, much often under life-change or other similar circumstances.
I found one self-portrait dating back to 2006 shortly after my first voyage to Scotalnd paying a visit to my aunt ( I didn’t take a picture of it). I do remember another one I worked on while living in Brussels (now in private collection). In Paris I got to work on two or three of them in various and quiet diverse styles.