About the Works

My aim has been to search the the evolution of the XX. century's colorists’ language of color & form.
The acquired understanding of the color, form and space is not enough for me to depict associative elements (human elements, etc.) in uncompromised fusion with musical elements.
Color and form should act in combination. One cannot exist without the other (color form), because of the musical unbrokenness of a painting.

I worked in the early stage with few colors to explore the effects of the neighbouring color forms.
(Every colored form need a certain space (as all of us) to reach the maximum size of breath.)
Any form of color, spot, point, line, even the lines of the bounding picture frames affects the maximum breath space of any other elements of the painting. This effect is losing on power with growing distance between th colored forms.

Together they have a rhythm, which has a sense of space outreaching the picture frame.
The control of this space is the precondition to the unlimited capabilities of a picture's musical language.

The biggest challenge for me is to create the inseparability of a painting's musical unity and the elements which are perceived with consciousness.

Viewing a painting our eyes are searching automatically for known formations (symmetry, two eyes, lines, etc.)
Such visual effects could limit, even destroy the breathing capacity of color forms and the musical rhythm of the picture.
One way has crystallized for me by and by for solving of this problem, a non-narrative arrangement of the elements.

A painting is built up simultaneously of various elements of different size, not for emphasizing the lightness of colors (as it was desirable by the pointillists), but for searching the rhythmic interactions of color forms.With this method you can avoid the undesirable eye catching of the human elements.

Currently I’m working with color forms without the bounding lines of the picture frames in 3D. I’m inspired by the possibility to shape in one work more atmosphere with color forms which do not interfere with each other, as well as by the work with empty spaces between the color forms (as with the musical notes and rests).