1) The reduced view in the photo is partly subconscious, and yet utterly considered.
The surfaces fascinating the painter are extremely minimalist, ethereal, virtually flirting with the notion
of indistinctness. The unified photographic-visual field suggests a multitude of emotions, and is never
monosemantic - which was the purpose of the seventies trends in painting. The analytical nature is
intertwined with the poetic charge of every photograph. The energy forces imply a profound and
all-encompassing feeling of fundamental causation (water, various substances ... ).
2) The available visual elements designed by the painter as >>garments(x for a kind of mise-en-
scene are a kind of raison desire for the >>maximalistically painted landscape<<. Visual sets create
a mutual impression of an inexhaustible repetitive impulse charged with organized optical surface. The
waning and rising, and the partitive optical play in motion inside the installation. >>All the pills in
spacelessness caught in the fishing net.<< Visual elements directed towards extreme dematerialization;
a medium as a message; a recipe as a message and the basis for the essence of return.
3) To paint with thoughts without touching for the new era. Thought with touches. Harmonious syllables
gurgle the river bed. >>Metaphors as,methods of socialization.<< A multitude of painting and drawing
strategies. Heterogeneous and unified, focused and accidental