Concept of Form and Space

My artistic research focuses on achieving the visual coherence of objects by blurring the boundaries between the realistic and the abstract. Pertaining to my painting, FORM acquires two meanings. The first relates to the common realistic concept, where an object is perceived as it is: a man as a man, an object as an object. The second meaning is an abstract one, which presupposes a constant change in the correlation between color and shape under the influence of illumination and the angle of view.

This intersection is where the transformation occurs. Nature ceases to be just a physical object, turning into a structure composed of vibrant geometric figures. Be it a still life, a portrait, or a landscape, they transcend their boundaries and become a unified SPACE, dynamically changing under the influence of light and shadow. The synthesis of realistic and abstract approaches allows me to expand or shrink this space, captivating the viewer's gaze. This is not a pursuit of non-figurative art, but rather an extension of the boundaries of FORM — a search for a delicate balance between its objective and non-objective essence. Achieving this equilibrium opens entirely new plastic dimensions for me.

In my work, I operate with large, expressive fields of color, intentionally discarding trivial details that create visual noise and distract from the essence. The integrity of the form's contour and the logical progression of color, light, and shadow are of paramount importance to my compositions. Any artistic technique must strictly submit to the core artistic image and "know its place"; otherwise, it remains superficial.

Once at an exhibition, I was asked: "Where is the philosophy in your paintings?" I replied: "The philosophy is in the painting itself." It lives within the unique harmony of form, light, and color that structures the space and reveals the ultimate image. Yet, I am by no means opposed to "narrative" on canvas, and I hold a deep affection for classic genre painting.