“It was a classic Friday evening, I sat in my office sipping poor quality burbon, hoping that some power would appreciate this sacrifice and cause, through the barely closed door, on which don’t know why, it’s more visible the name of my predecessor – a poor thing who vanished with the owner’s wife, than my, a lottery representatives would come handing me my lost lottery ticket”
Author unknown. Probably Raymond Chandler
That is more or less the beginning of most classic crime fiction in which the protagonist that constitutes the essences of all flaws, with every turned page turns into our reflection. Crime fiction as a certain convention, became just an excuse to create the last cycle of paintings. Thanks to this stylistic fascination, I could move into a peripheral part of the city – a space that for years has been the basic source of inspiration for me, and create a series of works from places where “light” does not reach. I have a great respect for these well-worn Chandler crime fictions, because they are a kind of valve, thanks to which telling about fundamental and basic things becomes much simpler, and perhaps more authentic.
I am intrigued by the extent to which the map space can be considered as a real and tangible space. To what extent is it only an illusion and an abstract arrangement of lines and colours, and to what extent a link, a shortcut to real space? I wonder what is the relationship and dependence between the map and the real place, which is presented on this map. This is a question about: how these two spaces interact with each other.
The assessment of this, depends on the scale and distance from which we look at them. By adopting a cosmic perspective, everything comes down to lines, signs, spots and colours. However looking from the manlike perspective, these spaces differ significantly. The map gives the view of the whole, it is the synthesis of the world. Being in a particular real place, on the other hand, makes us become just a point on the map, makes us watching it from the inside, experiencing only the nearest neighbourhood, and not being able to see the whole. We can only subject the environment to analysis, but we are cut off from synthetic generalisations and reflections. We experience fully, symbolic here and now. Characterising the relationship between the map and the world, one could stay with the principle of illusionism, imitation, suggestion and summary of the original – the world in the form of simplification – the map. And over such a dependence would not be any other, because you can not identify with yourself, a piece of paper and the boundless space of the world.
It seems to me, however, that although the entities of the map and the real world are so different, they have a common denominator – transience. As the experience of history shows, they are similarly sensitive to annihilation, erasure. Paper or canvas decay, fade, tear and crumble, and the real space of places is erased by carpet raids, erosion, or simply abandoning and leaving them alone.
ZOOM – MULTIVERSE
Painting figures, not only do I seek their common space and light, but also I perform a specific “cutting out” and “gluing” them onto other, separated places, which should underline artificiality or even impossibility of a given arrangement. I want to intensify the impression of incoherence of painting zones and times. Paradoxically, however, all the time I have to keep in mind painting coherence in imaging.
I often paint figures superimposed in the overlapping perspective in an unnatural aggregation. Mostly, they are pushing against each other, competing for being in the foreground. Sometimes I treat them as an object of a study, thus suggesting their affiliation with familiar to me, multi-colour and three-dimensional reality. At other times I simplify their images to achieve coloured or black-and-white flat signs, leaving only two spatial dimensions.
Therefore I can metaphorically say that painting offers me an opportunity to show an impossible multiverse – several parallel, adjacent universes.
The image presented on the banner is a part of the “Security” series, which was painted on the basis of press photographs. The pictures show refugees who, after arriving at the shore, are dressed in golden thermal foils (NRC), allowing them to survive after an exhausting crossing across the sea. After transferring the photograph to the canvas, the entire surface is painted over, omitting only a fragment showing the material itself. The foil becomes a witness to the presence of man. Golden thermal foils are not only carriers of meanings, but they also become a symbol of contemporaneity. Attractive, cheap material, giving warmth, is a substitute for wealth. It seems to indicate that life is the most valuable asset.