Every time I escape my daily confines of city life my senses get engulfed in an endless variety of shapes, colors and textures of the organic world. I process its richness and diversity in two ways: one of full immersion in the intensity of the experience through touch, smell and interaction, and the other of analysis of interplay of light and color, identification of patterns and repetitions and conversion of a four-dimensional experience into a two-dimensional arrangement of colors and forms.
The basis for my paintings are real landscapes that I encounter in my travels—yet what I’m interested in is not their faithful representation but capturing the essence of what I have seen and experienced. By stripping them from any superfluous elements and distilling into basic building blocks of pattern, light and rhythm I hope to convey the two—perhaps contradictory—sensations of being enveloped in the space while, simultaneously, reading it from the outside as an abstract composition.
To express the richness of the natural environment I construct my paintings in multiple layers—opaque or translucent, heavily textured or thinly diluted, built up with a knife, brushed or dabbed on with a piece of soaked cloth. This technique—combined with a limited color palette—allows me to focus on expressing what I find most beautiful in nature—the luminosity and shimmering of light, the complexity of textures and the vibrancy and depth of colors