Example
MARBLE, 2016 </br> 30×40 cm, tempera on panel STONE, 2016 </br> 30×24 cm, tempera on panel NICHE, 2016 </br> 30×24 cm, tempera on panel STONE 2, 2016 </br> 30×24 cm, tempera on panel RECESS, 2016 </br> 40×30 cm, tempera on panel SANSEVERO I, 2016 </br> 40×30 cm, tempera on panel CEILING, 2016 </br> 40×30 cm, tempera on panel RECESS 2, 2016 </br> 40×30 cm, tempera on panel SAENREDAM, 2016 </br> 70×70 cm, tempera on canvas MOON, 2016 </br> 100×70 cm, tempera on panel BLACK WINDOW, 2016 </br> 30×24 cm, tempera on panel PORTICO, 2016 </br> 40×30 cm, tempera on panel BLACK SUN, 2015 </br> 30×40 cm, oil on canvas POOL, 2016 </br> 30×40 cm, tempera on panel CANDLESTICK, 2016 </br> 24×30 cm, tempera on canvas SHADOW, 2016 </br> 30×40 cm, tempera on panel
A visual equivalent of tangibility, or the opposite – a phantom, spectrum? On the one hand a shadow shows three-dimensionality of things, but on the other it often remains a plane, an abstract sign. Focusing on it we move from reality to observation of pure qualities and their relations: subtlety of light and shadow grades, the course of line of a border between shadow and light, as well as deformation on the surface covered by shadow. The shadow appeals to us just with this contradiction of chiaroscuro spaciousness, and immateriality of a projected shadow – a purely visible shape, loosely attached to its owner (what casts this shadow). A shadow outline is a founding myth of painting.