Example
CONUNDRUM, 2010 </br> 26×70 cm, tempera on paper NEW FORMS, 2010 </br> 26×70 cm, tempera on paper UNTITLED, 2013 </br> 31×41 cm, tempera on paper ANALYSIS, 2011 </br> 31×70 cm, tempera on paper SOMETIMES I THINK, SOMETIMES I AM 2012 </br> 31×98 cm, tempera on paper EXPLOSION, 2010 </br> 39×50 cm, tempera on paper ACCIDENT, 2012 </br> 46×46 cm, tempera on paper DEMYSTIFYING, 2011 </br> 25×80 cm, tempera on paper MENSURATION, 2012 </br> 90×120 cm, oil on canvas ATMOSPHERE, 2008 </br> 32×52 cm, tempera on paper CHEMISTRY, 2013 </br> 40×30 cm, oil on canvas SOUND, 2013 </br> 61×21 cm, tempera on paper STORM, 2013 </br> 30×30 cm, oil on canvas EXPLOSION, 2013 </br> 40×50 cm, acrylic on canvas STIMULATION, 2013 </br> 30×40 cm, oil on canvas SCOPE, 2013 </br> 40×60 cm, acrylic on canvas ANACHORETA HERMIT, 2013 </br> 111×92 cm, oil on canvas DISSOCIATION, 2013 </br> 40×60 cm, tempera on canvas EFFLUENT, 2013 </br> 34×47 cm, tempera on paper ELLIPSE, 2013 </br> 50×70 cm, tempera on canvas ESCALATION, 2013 </br> 90×120 cm, oil on canvas EXPIRATION, 2013 </br> 40×60 cm, tempera on canvas ICARUS, 2013 </br> 42×30 cm, tempera on paper RADIATION, 2013 </br> 50×70 cm, tempera on canvas SCIENTISTS, 2013 </br> 100×150 cm, oil on canvas SEDIMANT, 2013 </br> 90×200 cm, oil on canvas SAINT JEROME, 2013 </br> 30×30 cm, oil on canvas PHENOMENON, 2013 </br> 25×70 cm, oil on canvas
The Experiment is an attempt to merge painting effects obtained in The Hypotheses cycle with a formula of a figurative scene. It indicates an interest in by-products of research processes, such as misguided assumptions and outdated claims, which after time become only an anachronistic superstition. Aimed at the understanding and control of the reality through the exploration of the governing laws, science in a way tries to expand the boundaries of our independence. What are still our limits? How and why are we limited? What can we do to free ourselves from this limitation? What will happen if we are finally able to decide about everything?
The title refers to the motif, as well as to the effects used – the often unplanned and unintended results of an experiment with paint.
It seems interesting to me that the same mysterious and hybrid shapes can be found in the Renaissance art of emblems, which was a specific combination of scientism and sympathetic magic. The world is still mysterious and dangerous.