Example
PURITY, 2009 </br> 34×56 cm, tempera on paper 90 DEGREES, 2009 </br> 27×20 cm, tempera on paper UNTITLED, 2007 </br> 110×150 cm, oil on canvas UNTITLED, 2007 </br> 110×150 cm, oil on canvas STILL LIFE, 2005 </br> 18×70 cm, tempera on paper DEAD NATURE, 2009 </br> 19×40 cm, tempera on paper HANDS, 2006 </br> 25×42 cm, tempera on paper SOLITUDE, 2009 </br> 25×50 cm, tempera on paper TABLE, 2004 </br> 25×70 cm, tempera on paper HANDS 2, 2006 </br> 28×52 cm, tempera on paper UNTITLED, 2011 </br> 30×40 cm, tempera on paper COTTON, 2009 </br> 30×55 cm, tempera on paper BERKELEY, 2009 </br> 30×40 cm, oil on canvas PLATO, 2008 </br> 35×43 cm, tempera on paper EFFECT, 2011 </br> 47×65 cm, tempera on paper DUNS, 2008 </br> 27×37 cm, tempera on paper IDEALISM, 2008 </br> 28×41 cm, tempera on paper WEIGHTLESS, 2007 </br> 90×200 cm, oil on canvas UNTITLED, 2007 </br> 28×41 cm, tempera on paper TABLE 2, 2006 </br> 23×70 cm, tempera on paper VANITAS, 2008 </br> 36×50 cm, tempera on paper STILL LIFE, 2006 </br> 20×65 cm, tempera on paper STILL LIFE, 2005 </br> 25×80 cm, tempera on paper STILL LIFE, 2002 </br> 30×45 cm, tempera on paper
In certain states of consciousness things can break away from their utilitarian, everyday functions and become a pure form – a phenomenon that bears abstract features. In still life I try to capture the transcendental nature of reality and to express non-obviousness of the external world through the simplicity of a theme, the severity of the execution and the emphasis on the material nature of an artifact and the immaterial nature of things represented by it. The spatial effect depends greatly on the use of primitive tools and involves contrasting sharp and clear marks of a spatula with soft and blurred strokes of an exploited brush. These paintings were strongly influenced by works of Maurice Merleau-Ponty and phenomenology, understood as a branch of philosophy that operates on the border of sensualism and intellectual analysis, as well as the reflection relating directly to the senses.