Why veil?
The “Veilng Series” (a.k.a. “Fuzzy Concepts”) has a unifying conceptual trait: Each painting reveals that there is something very figurative and definite behind it, yet, it obscures the underlying image, meaning and truth.

These artworks are created using a splash painting technique. Speedy, flying droplets and bits of paint create a vivid texture on visual, as well as, tactile dimensions. With our eyes we see the paintings as soft and fuzzy from a distance. The visual shapes and color tones just echo the images hidden underneath leaving the artworks open to personal interpretations. But when we get up close we notice the intricate, detlicate web of paint. This is when “do not touch” rules of museums and galleries start to feel unnatural and our hands can carefully play such an immense role in exploring the artwork. The tactile factor allows everyone including blind persons to interact with these paintings.

Voyeur, Oil on canvas, 300*100 cm, 2018
 The watching game is there, but who is watching whom?
I stand and sketch like no one can see me, yet feel the gazes of the room.
Should not the altar occupy those minds and pens that freely draw ahead
The flawless beauty never shy to bare her forms from toe to head?
Yet naked flesh feels not obtrusively unclad as it’s the way it’s bred.
It is the mind that plays its tricks with such a shy, young, silly lad.
Kiss, Oil on canvas, 100*100 cm, 2017
I am still not certain of what kind of kiss this is. Is it a kiss of love, of lust, of passion, of despair, or the last kiss altogether?
Intra Muros, Oil on canvas, 100*100 cm, 2017
The comforting pastel coloured walls are built by a father to be a safe haven for his family. But what lies beneath? Aren’t these walls another mask?

Tartuffe, Oil on canvas, 100*100 cm, 2017
Cléante:
“There’s a vast difference, so it seems to me,
Between true piety and hypocrisy:
How do you fail to see it, may I ask?
Is not a face quite different from a mask?” (1.5.9)

Tartuffe is a bridge between two series of paintings – the Great Unmasking and Fuzzy Concepts. I’m afraid that characterising this artwork as one that veils the unveiling is too vague, but it may be just right…

Tango, Oil on canvas, 70*170 cm, 2017
Tango… remember Frank Slade’s character, whom Al Pacino played in the Scent of a Woman? The tango scene was outstanding and that’s why the movie came to my mind as I was working on this painting. Almost certainly it is what influenced the title, although it had not much to do with the creation of this artwork.

The scent of a woman (and I don’t mean the movie title) can be literally seen in this painting. The hues and shades, the flowing forms, and what’s hidden underneath… Apply your imagination and you’ll see the charming smile that you do not talk about with your wife – yet, you can have it and enjoy it every time you look at the painting hanging in your living room.

That Western, Oil on canvas, 100*120 cm, 2017
A painting that is inspired by impressions of old western movies, which I’ve seen as a kid. In the early nineties, when the Soviet Union crumbled, Hollywood films flooded the market. I remember coming home from school and switching on the TV to see the unseen, to see the world that I didn’t know existed. Actors like John Wayne, Clint Eastwood wearing wide rimmed hats, riding horses leaving trails of dust, blazing Smith&Wessons, tumbleweeds rolling through prairies of the Great Plains with snow covered Rocky Mountains on the horizon, bloody battles with masterful Indian (Native American) warriors, gold thieves, painful betrayal, bravery, courage and love.

An echo of the past that still whispers into a dream now an then.

Redemption, Oil on canvas, 100*120 cm, 2017
When the times seem really tough and problems look overwhelming – at one point selling your soul to the devil may look as a simple way out, but in the long run this is not the way to go, because the price you’ve got to pay for redeeming your soul may be quite high. This painting depicts the conflict that arises at a later time, when changing direction is necessary, but the costs that you have to cover are immense. Yet, there is no turning back.

Tenderness, Oil on canvas, 100*100 cm, 2016
“Tenderness” hides a very important part of the artist’s life. But You could guess it.

It is executed in the original technique. It is intense as it relies solely on my original technique and covers a square one by one meter canvas. This process of its creation was slow, exhausting and painful. Each little bit of paint was applied on its own and it does take a lot of time and effort. Besides the wonderful texture another result are hands that hurt for a month after finishing this masterpiece.

Yet, when you see “Tenderness” – you know for a fact that it was worth the pain. It radiates wholehearted warmth and draws you in irresistibly for your eyes to devour each bit of paint that brightly shines with vivid colors. And if you’re lucky enough to touch this painting, you discover that you can see it with your eyes closed. The tactile factor of this artwork brings out a whole new invisible layer that is stunningly powerful giving both the viewer and the painting a new dimension of interaction as if it’s alive.

Red on Green, Oil on canvas, 90*80 cm, 2016
This painting is the result of a transformation of a very definite picture I initially had in my mind and on canvas, whose natural shapes and colors were screaming out loud asking to be hidden. Shapes moved and redefined. Colors shifted hues and saturation. All changed until a comfort zone was reached when the painting said everything initially intended, but in a different language. After such a metamorphosis it was exhausted like having run a marathon on a hot summer day. And there came the salvation like rain from the sky… drop by drop, the paint splashed revitalizing hidden details, reflecting brilliance.
Black Tulip, oil on canvas, 30*40 cm, 2015
The “Black Tulip” is a painting of an unfading, passionate, rare flower. It is ripe and ready to please the viewer not with glitz and glamour, but in a deeper, intimately secret way. It’s a painting that veils the truth, diffuses the facts and embraces an imaginary tale. Although Black Tulip’s roots may be akin to “The One”, it develops and goes its own path a little further to not just veil, but transform a meaning into a new figurative presentation.

One, oil on canvas, 40*30 cm, 2015
It is the initial painting that laid the foundation for the Original Technique. It is the veiling of the obvious that makes this painting stand out as mysterious and very unusual, because it is fueled by desire, temptation and secrecy wrapped in an abstract veil. Visual abstraction was the only way for this painting to survive.