As a still object that encompasses other objects the picture is the escalation of space; time perceived as a physical extension, shown as a place. The act of painting can be in a way considered as a transmutation of place into time, as it leads us from the object itself to thinking about it.
Still life seems interesting to me as a motive devoid of narration and movement, whose sense depends only on its own, constant presence. It serves merely the purposes of perception: it is there in order to be seen. Perception relies heavily on consciousness. Often we do not see things we do not understand or know. Vision is the process in which the alleged objectivity of the reality is inevitably affected by the onlooker subjectivity. This generates delusions, as well as vague and ambiguous images, authoritatively clarified by the mind of the perceiver. The shape of the world is to a large extent a project and a demand of our consciousness.
I try to examine this moment when the object of interest becomes a subjective interpretation, and perception becomes a claim, or on the contrary – when the knowledge influences pure sensation and gives shape to our expectations of this shape.