From the very beginnings in painting, the portrait as a motif runs through my work. As one of the most difficult motifs, it has always created a challenge for me to capture the emotions of the people I portray. In this series of works, I came to abstraction through portraits. I strove to find a way to present a classic motif - a portrait - in a different way. Modern enough for an old motif to be reborn...
I started the cycle with a self-portrait (looking at myself in the mirror) on a large format, which allowed me the space for my move to be more expressive. I set up the composition by painting part of the portrait, it all seemed interesting to me, so I framed some of the following portraits. Copying - omitting some parts of the face in some subsequent works, I got an increasingly abstract picture. Observing the live model, I drew visual information to build the images. Some of the paintings became geometrized abstractions, but they were also created according to the principles I observed. I didn't limit myself that my picture had to be a portrait in the classic sense, I wanted my picture to be different. Whether it is a portrait or an abstract painting made by observing one of the motifs. With this series of pictures, I tried to find universal formulas for a good picture. I didn't want a portrait of a person to be liked by a group of people who knew him, but to give a completely different feeling to others. I tried to remove from the pictures all that identity that would interfere with the equal reading of the art. I was discovering a way to present a classic motif - a portrait - in a different way.
In my research, I became aware of some of the characteristics that accompany all of my images. In addition to the emotions that I always leave in my work, a very important characteristic is the rich color and expressive strokes. Something that makes my handwriting recognizable.
