How did you get started doing what you do?
I was born and grew up in a family of fine art pedagogues. From the early on I was in the ambient of artists. My way of thinking was formed by observing the world leaning on visual experience. It was natural for me to attend art school and later on art academy. After I have finished studies of applied art, I worked in the electronics industry as a designer. There I met the first computers and their convenience in use of visualization of my ideas. Today that is something that artists are used ti, and i know people do use computers as tools for their creative work endeavor and exploration. Aside from many dangers to creativity and directness of human expression that computer use has, it is possible to cross the barrier. I believe that even the old masters would use the computer if it was available for them. I spent few years designing for Tv commercials, using video editing and 3D modeling. I was perplexed with possibilities of the virtual world by using these technologies, projecting space and perspective using powerful mathematics and calculations. It seemed out of this world, created by far more advanced civilization. Today, even after all those technologies and even greater possibilities, I realize that I am more satisfied if in my work there is more tangible matery and layers of time. I use computer less, having piled up all those sediments of experience in me, and using them as an inspiration in my explorations.
How would you describe your creative style?
There is an everlasting duality in my attempts to materialize the idea. On one side there is a computer, as means of fast validation and on the other the aspiration to the mater as well as aspiration to sublimation of time and space. Computer helps me in creation of new spaces, while the realization itself on the canvas helps define the dimension of time. I try weaving more and more layers of time into the mattery and texture. I try crafting the uniqueness of canvas signature while being aware that this might be the element left out on purpose by other authors, as undesirable category and that today’s artists somehow deleted in their works their own tracks. The world became the great collective and artistic individuality less important. I think that art world is working in cycles, and that any true attempt will be once again understood and desired. Maybe I can define my own work as a new return to the New Figuration.
What’s your inspiration?
In short, space and time. Since I was always interested in science and technology, astronomical instruments, cosmology. In younger days I had a hobby collecting optical lenses and optical instruments disposed. Essentially there lies my aspiration to work on canvas and seek new ways of looking composition and perspective. Light as a physical phenomenon and properties of light. In a way they influence me on my current efforts in painting. Skills of the European Renaissance masters, the resolution on the composition of the Byzantine frescoes, solving perspective and the ever-present endeavor of these ancient masters that what is not painted directly on the pictures transferred elusive thread suggestiveness available to observers only between the lines. The realization of new spaces is a primary goal of my efforts, and the elements that are present there are only companions and their presence to help achieve this end.
What is art to you?
Way of thinking, living, creating, self-realization. Approving the reason to live. Music is also an important element of the process during the operation and during the removal of a problem during operation. Yet I often forget that without music and sound, I could not do it and also that without music I could not even make it to get away with in order to distance myself again and review the current process of painting I could not recharge their depleted resources inspiration.
What does your typical day look like?
My work at the Gallery of Contemporary Art as editor of the journal of the gallery takes most of my time. It’s been a job that I performed for the last sixteen years. The newspaper requires a lot of work on the computer, searching the Internet for information about exhibitions in the world and the country where I live. In a way, I’m doing a lot more than usual due to the fact that after this business and short break at home in my family, I go to the studio and I continue the work that fulfills me completely. It also means that my weekend is filled with work on those same projects.
How long does it typically take for you to finish a piece?
In my case, it’s always a different approach. Sometimes working on an image takes months and sometimes much shorter. It all depends on the art of the size of the picture. In any case, the larger canvas need much more time. I used to work using more technique acrylic paint on canvas. Nowadays I more of oil paint technique, and the fact that the oil dries more slowly, it is necessary and additional time to achieve the figure given goal.
How do you keep motivated?
Awareness of the rapid passage of time and the inability to realize things during my own live everything that I had planned, puts me in the position of the race with itself. I am always aware of the fact that one missed day is lost forever and that I will not be able to achieve everything I set out. I am amazed by the fact that as a junior I was not aware of the rate of flow of time that we have given into our search and we have experiences with the rest of the world, of course, when it comes to art and artists.
How would you say your surroundings have influenced your work?
I think that the environment in which man created once was far more important than it is today, due to the fact that the artist needed information and exchange ideas with colleagues and critics. Autors needed impressions, the power, the new visual experience. Today, it significantly changed due to higher and accelerated flow of information, which the artist has now been fed with the new media and means of telecommunications. The hunger for information of all kinds artist used to power the various sources of knowledge. This hunger is now served primarily by television and the Internet. It came true McLuhan’s Gutenberg Galaxy. Modern technology has changed the profile of today’s artists. If I wanted to see some distant place of our planet, some archaeological site or a tool, a natural phenomenon, the air fulfill my desire in one click, which certainly could not be an easy one for the former artists. Any such experience is deposited in the repository from which later squeeze processed and rounded thoughts on canvas.
What do you hope to accomplish with your work?
Hope is always there. The hope will be followed by a call from a center of artistic events or galleries that show work and the results of previous efforts. Whenever I got a call of this kind, I would have got the strength and energy to the realization of additional works, many more ideas and a kind of artistic energy that would result in a better and deeper dives to work on images. For those who are given the chance, more are engaged in efforts to persevere and achieve in his works and that which does not itself have not hoped for.
How have others reacted to your work?
The reactions are very different. Mostly positive. In a way it is just fine for me, I see the reaction as a good test for knowledge of the art of those to pass their judgment. I realize that I do not need to be overly sensitive to every opinion and that is the kind of comments mirror image of the commentators. On the other hand, I believe that is the aid in my efforts to understand my current position. All artists are prone to express their opinions, whether positive or negative. Over time you get used to the different attitudes of the environment and if you follow your path, do not pay attention to too much on this kind of events. Stated opinion is also a test for the artist. In these courts there is knowledge hiding, of how distant or close to their own problems and how much he missed grounding.
What do you want others to take away from your work?
I want my work to the create the noble and positive thoughts about the world and the collectivity of the magic that is our life. I want my works to be positive in every sense and radiate energy, that beautify life to the viewer, so it seem to him that every moment of life is the good news. Artists knows what it means to have inspiration. Sometimes it there is more of it sometimes less. If they have it to a greater extent than usual, it makes them happy and purposeful, selected for a mission that is dedicated to the exchange of well-being among people.
I believe that art should be humane. Its task is the humanization of society. Art will always have time to deal with this. She art that does not meet these criteria is not art.
What, if anything, would you tell your younger self?
Be persistent, follow your thoughts and ideas always and without compromise. Do not infringe the people around you. Draw always and continuously. Drawing is the power and mystery of great painters and great artists. Drawing will keep you in shape, and will give you many joys and pleasures. Old Masters should be your role models. Do not think about whether what you’re doing is for museums or galleries, but follow your instinct and rhythm. Draw everything that you have in your pocket, on paper, ground, canvas, cardboard. Drawing accumulates energy, which will enable us to become the world a bigger and bigger equation and inspiration. You will be able to tear down the mountains and crush stone, conquer the deep abyss and jump over chasms. Don’t spend a single day without a drawing, they will allow you to play with form, color, line…
What’s the best advice you’ve been given?
My father once told me, watching one of my works and made a significant advice. The work was in some grayscale and the menu quite good and ready for an exhibition. He came to look, and after a while he said that he liked it but it would be good to just put in one place some little cleaner colors. I have listened to him and later the work was purchased by a major institution.
Any words of wisdom to aspiring artists who want to pursue a similar career?
Visit the exhibitions but not too much. Permanent visits can be devastating to people who themselves have something to communicate. And against their will they can be drawn by other people’s opinions, and unknowingly replicate someone else’s conception to the point that it can not be used to relieve
visual impressions collected in such places. Watch only the most significant. Those who are, are indeed, the very fact that they are up to the pedestal. From them you can really learn something and they are always inspiring and full of positive charge in excess of the observers and young artists. Being exposed to such energy, can contribute to it actually sparks the wondering spirit.
What are your thoughts on art school?
These are good places and good sources of power in any case. This site suggests to trade secrets, thoughts, secrets of creation. Only to those truly exceptional is given the power to do without art schools. Those who teach in such institutions are usually less talented or good teachers and technologists. Good artists are rarely good teachers.
Have any future aspirations that you’d like to share?
I would like to use a much larger format canvases. They are more difficult to transport, storage, operate, priming the substrate, they require more painting material but I think that this dimension matches my mood and ideas. Large formats give ideas greater significance, and such a large canvases make work more suggestive, more monumental.
What’s your dream project?
A series of paintings inspired by the large size intertwined by the distance of time, past, present and future merged into a single body of work and associated in a single unit.
What art supplies do you use?
Always different but at the moment I went back to oil on canvas. Before, I used a lot of acrylic paint but I realized that my ideas for implementation requires unsurpassed oil paints which provides always needed freshness in color and there is no change of color relationships, even after many decades. Such was my experience so far.
What’s your process like?
I do not like a clean white canvas. I always had to destroy the whiteness to start working. This goes beyond the overlapping screens many dark shades of color and layers, which liberated me for a new beginning. Only before achieved textured can I get going with the implementation and any further work themselves a new motivates me to continue. The progress in setting compositions motivates me for deeper intervention to finally work out the details and accents. Finally, I work on balancing and hierarchy plays, trying to keep the immediacy and spontaneity. Avoiding calculated settings and nursing coincidence.
How could the art industry become better in your opinion?
I dislike the word industry. It’s hard to think about art in this way even though I know that a large number of people are involved in such a thing. This term is a necessary evil, duality, which at the same time works for you and against you. Maybe people will have a better position in the future on all issues related to creativity and marketing. If you would like this thing accepted as something that goes without saying, I believe it would destroy part of which is inseparable from the painting and that means immediacy. It is impossible to be straightforward and have a positive attitude towards this word. We are talking about a kind of hypocrisy, be in commercial painting and at the same time to be avant-garde. For those who promote the arts, and benefit from it things are different and they do not burden themselves with such thoughts.