22-23

1. ‘09878549’, Digital painting printed on velvet, 2022, 180cm x 180cm
2. ‘2356467’ Digital painting printed on velvet, 2022, 140cm x 180cm
3. ‘87656789’. Digital painting, can printed on velvet, 2022, 140cm x 180cm
5. ‘09873443’ , Digital painting, can be printed on velvet
6. ‘56787654’ Digital painting printed on velvet, 2022, 140cm x 180cm
7. ‘9874699’, Digital painting can be printed on velvet.

If art is a manifestation of the process, than all the works up to this point have been rooted in an attempt to deal with the coordinates of the personal trajectory and all the preceding occurrences.
However, as the change is inevitable and as the recognition of the impact defines its parts as much as it defines a whole has also allowed for the circumstances where art and what has brought it about bleed into each other and morph accordingly in a way that is coaxing, yet simultaneously coexisting.
The inhabited planet is in a state of rapid flux and so is the view of the boundaries placed upon the participatory individuals where the defining norms are demanded to exhibit a different kind of virtuosity under the pretext of improvement of the general cognition and the living conditions.
Within the provided context the dimension of detoxification – introduced through the ‘green wave’ where the conditioning of health is main focus, have on a personal level led to an entire reconsideration of how does an artist deal with the dimension of responsibility. The global poisoning that pervades every aspect of the current condition – from food we eat to the air we breath – is a product of an almost infinte amount of small decisions that incessantly lead towards one of the biggest pitfalls of humanity. If every single dimension around us is what informs the further trajectory than it becomes apparent that all obstacles introduced have an impact.
Through such thoughts it became evident that the considerations that have occurred in the aftermath produced fundamental changes to the ideologies with emphasis on minimising the levels of toxicity of personal works and within immediate environment. The oil, canvas and turpentine were substituted with an iPad, a token of a significant change in the global and personal conditions.
On the other hand personal fixation with painting and the notion of transfer that achieves an impact, led to realisation that if the printer acts as tool in production of art, can one achieve the same level or emotional bond with the viewer as an oil painting does.
In a way the process of painting is reversed – where the traditional work in oil or acrylics starts as a compressed space which by adding information and depth achieves its resonance, the question that emerges is whether the same emotional effect can be achieved through the medium that inherently compresses information.
Most of the works are hand drawn to a digital painting and than subsequently altered to achieve an almost hyper-real effect before they are sent to printing.
In that manner the works are in a bifurcated state respectively as their digital and materialised counterpart, emphasising the complexity of the embodied now, whilst simultaneously pointing towards the importance of the vessel that traces and interprets the provided ‘blue print’.
The choice of shimmer velvet emphasises the duality of the relationship, due to its lustre and the weave allows for a work to exist as a perfectly smooth surface and as a token of the marks made by hand, emphasising the ambiguity embedded in the nature of things.
The early works are experimental in nature and deal with the various topics, but are drawing on the notions such as the face of Alan Turning that has been reinterpreted in some of the works, to challenging the colour palette and mirror the personal interest in the narrative depicted in human faces.

*Numbers instead of the conventional title have been created using random number generator.