As a rule, I avoid implementing stereotypical elements recurrent in the modern culture. Being in favour of a more personal and lyrical form of expression, I steer clear of incorporating anything instantly recognisable, whether it’s objects or persons. Ultimately, my paintings are skewed mirrors of reality, where everything is possible and going in each direction will take one to an entirely different destination.
The typography, numbers and other graphic elements used throughout my work aren’t mere ornaments. They are meant to draw attention to a specific detail, to augment the significance of a particular scene and put a rush interpretation back into question
A great admirer of German Expressionists, Pop Art and the old Dutch and Flemish masters, I prefer figurative painting as a creative medium, which I find more appealing and humane than non-pictorial art pieces — often dangerously impersonal and erratic. I’m of the opinion, the viewer coming to the gallery has no less expectation of a sanctity than coming to a place of cult. It is this very sensation I try to deliver — the pervading sense of enigma, the existence of an alternative continuance, out of reach and out of control.
Since light in my photography plays second violin to the darkness, I use it sparingly; my photographs are often gloomy and almost always shot in black and white. Apart from creating a stronger emotional effect, discarding the colour information enables me to convey an unambiguous synthesis of what captivates me in the scene.
The subject of my photographic composition is not as important as its context, defined by its relation to its surroundings. Be it an urban scenery, a landscape or a portrait; I never shoot an object or a person as such. Rather, I use subjects as a mere pretext to tell an unexpected story; to steer the viewer attention from what’s seemingly obvious to what lurks beneath the surface.