My work is closely connected to the region I live in and to its history. This region is one that has been a part of many nations during its turbulent history; it has been inhabited by quite a few ethnic groups, as it is a place where various religions and languages have appeared, disappeared and coexisted. Historical periods replaced one another – at one point, the region drew immigrants, then, more recently, it produced them. Each ethnic group brought something of its own culture, language, religion, and this formed very unique mixtures and parallels. It is no wonder, then, that significant breaks can be seen in the region’s identity. The period between the second half of the nineteenth century and the beginning of the twentieth century is considered to be one of the golden ages of the region. I attempt to outline the region’s identity (or its lack of identity) using this period as a historical reference point. I also hope that this will aid in pinpointing the individual’s historical and regional identity. The Industrial Revolution and the social, economic and other reforms it brought with it appeared in this region as well. The agricultural working class and its culture were joined by the bourgeois, which resulted in significant cultural changes as well. This process gained momentum in the second half of the nineteenth century. I focus on these social changes in my work. The most visible evidence of this period observed today can be found in architectural buildings (public buildings, churches and private residences) that remain. Elements from the then-popular neobaroque, neoclassical and art nouveau styles can be found on the facades of these buildings. The evidence of these styles was not only visible on the outside of these buildings and homes. The decoration of the interior, the furniture and everyday personal items also reflected the inhabitants’ social status. Aside from masterpieces, one could also find paintings, tapestries, decorative items, utensils, etc., which would today be considered “kitsch,” as they were often the adapted versions and provincial transcriptions of works and items from larger cultural centres. I make allusions to pseudo-versions of these items in my work. My attitude toward them is complex. At times I treat them with melancholy by projecting utopian views of the past, the “good old days.” Anachronisms can also be found in my work. They are present with copious amounts of cynicism – many of the older pieces seem humorously naive when viewed today through our perspective. I attempt all this in the language of contemporary art, to which I incorporate elements from street and pop art, thereby drawing parallels between time periods and the effervescence of trends.


The main subject of my art is the body and man. The body has been a point of interest for me since the beginning. The initial interest grew stronger with time. The return to the body is the only certainty in general uncertainty. My art does not serve a specific cause and it does not pass judgement upon society. It is not centered around an active theme either.


The positioning of faces and body parts can allow for variety. It can be characterized in many ways, including the following. Asimmetry. Angles deriving from the usual depictions, or seldomly utilized focal points. Movement. At times, movement can be slight, but from this stronger and more apparent motion can develop. The realisation of this can be in our thoughts, in our imaginations. These positions are the moments before a so-called explosion. The moment that contains the most latent energy. A forceful trajectory of motion exists thanks to the explosion. As it gains force and visible motion, the energy decreases. Thus, these processes are complementary and simultaneous, but they also oppose each other. I often fulfill the role of model for my work. Despite this, I would not call my paintings self-portraits, as resemblance is not important for me. Much more important is the movement, the angle, the examination of the position - anyone could have posed for my painting. And yet, it is not ordinary that I act as model instead of using another's likeness. When I pose, certain introspective and therapeutic aspects of my art emerge. Between the variations, some positions become apparent, that seem to call classical positions to mind. If I pose myself in such situations, I am playing a role. Female forms are fulfilled by saints, but most often by a Madonna figure. They do not imitate the roles of old female models and forms. These old types are drenched in symbolism and Christianity. My figures do not fulfill this role; they are material, flesh and blood human beings. The irreconcilable gap between the stereotypical "old" figure and my figures births a strange sort of tension.


The guideline of my research is enlargement, the multiple increase of the original, natural size. Size is an often used means in fine art and in this case it gets special emphasis. At the idea of SMALL we tend to look as something usual and unimportant, but if we make it large it can get monumental significance. This is the reason I decided to focus the canvas only on a tiny piece of the body, a segment of a surface, a curving line, a muscle, a shape of a part the natural size of which can be multiplied. The composition is simplified and clean. The whole attention is on the flesh. These segments can keep the main features of body parts but the recognizability is not necessary criteria for me. The unpleasant effect may be created by its disproportion, the lack of the cut parts and the overdimensioning and constant expansion of the remained details. The given surface is, however, not enough. Mass is about to break out of it, this way creating a claustrophobic space. This is the inspection of the body from which the head, the face, the portrait is no exception. These parts are of the same value as any other surface of the body. The intentional increase and the overdimensioning alters the natural proportions between the model, the picture and the viewer. If we examine this from an esthetic point of view and browse among esthetic cathegories, we may conclude that this is an approach to ugly rahter than beautiful.


Through the increase the changed proportions create a new situation, an another system. Man estimates everything from his own subjective point of view, no matter wheter it's about size, weight, time, etc. He puts himself into the center and becomes the starting point of his own measuring system. We call something small, long or short, heavy or light, fast or slow etc. on the grounds of the criteria above. Our position in the center becomes obvious when we compare our system with other systems where the "human sizes" are nonusable. It's no secret that the aim of increase is the creation of another system which is not much different from the average. The purpose of enlargement is rather to bring to consciousness the differences.


My goal is to get close to my subjects. When we focus our glance on an object and we approach it, it becomes larger and larger in our field of vision. Closer to it, certain details are no longer within the frame of our vision. In my work, this is also observable. Due to the "zooming", there is progressively less and less on the picture, however, what remains demands a larger surface area. Being so near, we would sense a body's scent, warmth, its aura. My paintings depict the body during the last few seconds before we would be too close and everything would turn dark. With further steps to approach the subject, we would enter the body and the flesh. Thus, we would reach the meaningless singular colour that would fill all that is inside the frame. It is not by accident that some of the photos I find are photos taken in labs which depict cells or body tissue. Although these are not directly present in my paintings, they are important sources of information for me, uncovering what hides under our skin, in the depths of the body.


The dimensions of a drawing are smaller than those of the paintings. I draw with ink and a pen, and these materials require the use of smaller surfaces. Thus, it is impossible to enlarge the details, but it is still possibe to "zoom" in on the subjects. While painting requires more physical action, drawings are smaller and need more personal and intimate treatment. The parallel lines' accumulation and crossing depicts shadows and lights which offer a dimension of plasticity. The speed of the stroke, as well as its execution (with determination or withholing) - they render the drawing capable of showing softness, transluscence, transparence, or the skin on a human body. Often, the lines become so delicate and disturbed that instead of sensitivity, they show suffering and tragedy.


The composition is in all instances simplified. The attention is focused upon the face, the body. The rest of the surface is "empty". In my paintings, this means the creation of two contrasting surfaces. The body, the face is created with the accumulation of multiple layers of paint, while the "empty" surface is created using only one layer of paint. In drawings, the body is defined by thousands of intersecting lines, while the paper's remaining white surface is not disturbed by any lines. The "empty" surface attempts to show neutrality, it tries to guide the gaze to the more important details. In so doing, it is not empty, as its depth fills an important role. With the alternation of filled and "empty" surfaces, the focus is on the body.


We find a certain emptiness on some works depicting bodies with "cuts" within the boundaries of the page. Details are often missing from these parts of the paintings or drawings and the cuts are defined by the outlines of the fingers, hands or hair on the work. This lack in its appearance does not seem to differ from "emptiness" or the white of the paper's surface (when considering the drawings). Nevertheless, it is important to differentiate between the white emptiness of the page and the depicted "lack" of body on these works. Although the two appear to be the same, the arrival at the created emptiness – its raison d'être and its formation, along with its nature, is different. The base and the body that has been given form in the base are in a natural equilibrium. The cut out details strike or shock us. They seem rather aggressive and intrusive in comparison with the depicted parts of the human body because they work towards the destruction and disappearing disintegration of the body. The cuts and the emptiness they cause stem from the body, but they also work against this host. In this, these features seem to be imbued with a suicidal tendency. The other kinds of cuts, defined by the edges of the paper or canvas do not strike us as quite as aggressive. In these cases, there is no evidence of any amputation – simply not everything has been shown.

The emptiness the cuts cause act almost as black holes would in space, digesting surrounding material. In my works, we meet self-destructive forms which digest themselves. Analogous to this would be a snake attempting to consume itself, beginning with the tip of its tail. The more material the black hole attracts, the stronger it becomes due to its increasing mass and the gravitational force of its mass, which in turn fuels its appetite. The definition of its physical characteristics, like its boundaries, mass, the increase in its strength, its expansion, its mere existence even, are the matter of scientific study. The boundaries of the stretching emptiness, however, are more easily defined. Its expansion in space always depends on the body near it, which defines the emptiness, as well as outlines it. Thanks the body, the emptiness can exist. If there is no body, there is no emptiness either. The body generates it, and thus, the emptiness cannot destroy the body. If it were to erase the body from the surface of the canvas, it would also destroy itself. In the interest of its own survival, the emptiness must preserve at least a small portion of the body. Similarly, the snake cannot really consume itself because consumption would mean the destruction of its own cells and atoms, which is equivalent to the creation of matter from nothingness – a feat only God has been credited with thus far. Although the emptiness so near the body seems aggressive when compared to the whole (of the body, of the work), whose components are the biological body and the white paper. The emptiness is never harmful because in them we discover the focus of the works that depict them.