Heavy and fragile, my creations are purposed and are labored. Snapshots over time, they convey stories ready for scrutiny. Time is essential in my doings, in respect with witch light (a quanta running at constant speed, never standing still) is the only reliable marker.
My works derived out of the traditional stained-glass, from which they initially borrowed the energy of transparency and glare while giving ways to spatial silhouettes, then further exploring obscurity and sheen.
I call them “convolutes”, a term saved from geometry. In its materiality, a convolute of this kind bears glow, shade, reflection, and perspective. Its appearance becomes kinetical with viewer’s motion and with light’s transition, just like sculptures.

I make what ignites me, from mythology to emigration and to science. I trust that multidisciplinarity sanitizes perceptions and chisels arguments. The richness of the underlying reality, that which is interrogated by science and philosophy, became a predominant theme in my past and future projects. Confronted with controversies I suspend the eagerness to jump to conclusion. The time reflecting on incompatible thoughts and paradoxical evidences enriches our complementarity with nature and in society – thus I aspire to maintain the viewers in that state.

My style is adherent to the story, be that representational or abstract. The quasi-subatomic compositions of mine, although seemingly unsubstantial, in fact are legitimately figurative. Observing the intriguing contrast between the subatomic world and the macro-world I intend to expose the geometric substructure of reality. By my intuitions beauty starts in the laws of nature. An electron can’t tell a lie. But again, it doesn’t know prestige or reverence either.

At heart, while examining the scientific insights, an irking question rose: if nature ever solved in equations, would that outlaw the poetry?

And this is why I feel invited to investigate and sculpt my thesis.