Example
TRANSITION, 2009 </br> 80×220 cm, oil on canvas EARTH, 2011 </br> 130×110 cm, oil on canvas RELIGION, 2008 </br> 18×45 cm, tempera on paper VIOLENCE, 2010 </br> 24×50 cm, tempera on paper RELIGION 2, 2009 </br> 24×63 cm, tempera on paper ECHO, 2009 </br> 24×78 cm, tempera on paper VOTE, 2012 </br> 26×70 cm, tempera on paper FRIDAY, 2007 </br> 27×70 cm, tempera on paper CORRIDOR, 2008 </br> 28×50 cm, tempera on paper AKTEON, 2012 </br> 29×40 cm, tempera on paper PHANTOM, 2010 </br> 30×80 cm, oil on canvas RECONSTRUCTION OF EVENTS, 2012 </br> 57×34 cm, tempera on paper QUEST, 2012 </br> 48×35 cm, tempera on paper NIGHT, 2012 </br> 30×50 cm, tempera on paper POOL, 2007 </br> 25×50 cm, tempera on paper PSYCHOKINESIS EXERCISES, 2007 </br> 19×50 cm, tempera on paper HORIZON, 2006 </br> 20×70 cm, tempera on paper DANGER, 2006 </br> 19×47 cm, tempera on paper AGORAPHOBIA, 2008 </br> 21×67 cm, tempera on paper POLTERGEIST, 2010 </br> 22×70 cm, tempera on paper COLLISION, 2007 </br> 35×50 cm, tempera on paper INTROVERT, 2008 </br> 19×48 cm, tempera on paper AIR, 2011 </br> 110×150 cm, oil on canvas GESTURE, 2008 </br> 30×100 cm, tempera on paper SYNCHRONIZATION, 2008 </br> 30×80 cm, tempera on paper WATER, 2011 </br> 110×130 cm, oil on canvas LIBRARY, 2013 </br> 40×53 cm, tempera on paper ISLAND, 2013 </br> 60×26 cm, tempera on paper
Figurative scenes reflect my fascination with the narrative potential of the painting. In a sense, they are the antithesis of still life – the static landscape is a background for dynamic action, referring to the interpretative ambiguity of the early Renaissance pictures. Their mnemonic function determined rich figurative iconography, clear for the people of the era, but completely hermetic for us. This narrative inconsistency made me think about psychokinesis.
The term combining the disciplines of psychology and mechanics (Greek psyche – soul, kinesis – movement) defines the ability to move objects by sheer force of will, without a touch, just by looking at them. This suggests an association with pictorial phenomenology described by Merleau-Ponty in his essay “Eye and Mind”: onlookers become the look and in consequence – what they see. Psychokinesis can be a metaphor for our existence in the world and more narrowly – the picture manual.