You mentioned once that David Hockney had a great influence on you. Would you explain why do you consider his art so outstanding and what is it exactly that grabs your attention the most?
Hockney is just one out of many, who I think of as an inspiring person but he is truly the closest to my interest and method of creation. He has a huge oeuvre that has influenced a lot of young artists. For me, the most fascinating fact about him is his application and use of colours and surfaces. I think what we have in common is that I also use an attentive approach as a painter. I start my work with notebooks filled with sketches of sights and visions. Later in the studio, I use these and I create an abstract version of them. I consider it important to research the connections between paintings and photos. I am interested in vision, not in its natural representation but the examination of relations hiding beneath vision instead.
In your paintings, you often examine the connection of built, architectural spaces and natural environment. Please tell us more about these oppositions, dichotomies, relationships, correlations and perceptions that have an effect on you while working!
I have been watching these oppositions since my childhood. Everything that surrounds us is in relation to each other. There wouldn’t be light without a shadow, as the leaf is small because of its relation to the whole greenery. If I paint a dark colour on a white canvas I see it as dark because of the light canvas. The contrast between natural and artificial is becoming more and more conspicuous in the 21st century’s cosmopolitan life. These are obvious for everyone nonetheless, most people just pass them by. In my practice, I try to present these small flickers of our everyday life.
What is the role of improvisation in your work and how important is it? How well do you plan your paintings in advance?
The theme is always given, the pictures are coherent to one another, they are continuous. My works can be organised into series, they are related to each other in many ways. I design all my paintings but there are situations while painting that results in spontaneity. Certain visual elements will be interesting specifically because of these situations and these are the most difficult to spot, indeed. When it happens I feel like I succeeded, I evolved, I’ve found something that wasn’t there before. I play with smashing the planned and the random and painting is a perfect field for me to do that.
What do you think about the relationship between contemporary art and digital marketing strategies especially social media?
There have never been so many visual stimuli in the world like nowadays. On every online platform or on the streets as well we bombard each other with an endless flow of pictures. These shape our perception and personal taste, that’s inevitable. I believe It’s really important to introduce high culture - including fine art - to the online world with the help of digital platforms such as social media. Thus, we can get relevant and important content and make fine art as part of the public mindset.
As a young artist, I consider it vital to communicate on those platforms. More contacts, professional requests, and real audience have already found me and reached out to me thanks to my social media presence that I update regularly. But I must admit that personal contacts cannot be replaced by virtual ones. It’s an additional opportunity for me, that as a young artist I have to take advantage of.
What are you working on at the moment and what plans do you have for the future?
I am planning a solo exhibition of my works I have been working on for the last six months and that is part of the series titled Natura Architektura. I have several possible locations in mind for the exhibition. At the moment it’s still in the planning and organizational stage. Simultaneously, I am also working on new pictures that will be additions to the works I plan to exhibit because I see lots of possibilities and challenges in Natura Architektura. I travel as much as I can to find inspiration I can work with. I just came back from London not so long ago that turned out as a few days gallery and museum tour. At the end of July, I am traveling to France for two weeks where I’ll have my thick sketchbook on me at all times. I have many plans, ambitious and smaller ones too focusing on my painting practice, of course. These will be revealed sometime in the future.