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About my art
I became interested in unique fabrics and spatial installation over 20 years ago. Previously, I only dealt with painting. Wood – especially birch wood – has become my favorite material. It is a difficult material because of its brittleness. Working with wood requires patience and hard monotonous work. A felled tree is subject to gradual decay. Stopping this disintegration for a “moment”, I divide the material into pieces from the past and combine them in a completely different context. I am aware of uniqueness and passing of the work. Every single element was extracted by me from the inside of the tree trunk using simple tools. I use birch trunks that are at least a few years old since the tree was cut down. During this time, each trunk is exposed to the sun, moisture, frost and wind. Under the influence of sunlight photochemical reactions take place at the ends of the trunks, resulting in darkening and tinting the ends of each element. In this light wood, delicate blues, greens, yellows and reds shine.
In the “Tree of Life” object, I present my vision of a tree as if closed in the outline of a sphere. The twisted trunk connects the canopy of the crown with the roots, which are a mirror image of this crown. The title of the work alludes to the biblical tree whose fruits were supposed to bring immortality. My tree has an ironic meaning. Its title and form suggests to the recipient that it is indeed the Tree of Life. However, this is a superficial perception layer. Its elements are undoubtedly dead, and the “tree” cannot live up to its promise of immortality. In order to read the irony contained in this work, it is necessary to recognize that truth and confront it with the first, superficial impression.
In my activities, I am looking for boundaries, tensions at the edges. I am interested in opposing concepts: interior / exterior, chaos / order, nature / geometry, truth / falsehood, etc. In painting, color and light are important to me, but not like tensions which appear at the boundaries of areas. It’s not about lines, stripes, triangles, squares. It’s the boundaries between them that are at the heart of the matter.
I am interested in the concept of parergon that Immanuel Kant dealt with. I am also close to Jacques Derrida’s philosophical reflections on this subject, his dialogue with Kant’s views, and his deconstructive theories about art. I must admit that years ago, the contact with Derrida’s deliberations on the border, par-ergon and the theory of opposition became an inspiration for my creation.