As a  paintress, I often refer to the content of myths, fetishism and faith and asks subtly: how can rituals and myths from the past or from another culture link with the present, and whether they still operate with the same force; what does it mean to believe or have faith in something spiritual today? I bypasse the capability to generate the illusion of desire for designation and to make past meaningful – the time when the original was created, the time that refers to the painted scene, and the time that demands connection with a work of art. I consider authenticity his most important trait, with a clear resultation – not to conform one's interpretative intention to hermeneutical models. I perceive processuality, which accompanies the inception of a work of art, the same as the temporality of movement in the non-enclosedness of borders. The image is a structure of the ultimate experience as the unactuality of the time. In this context, I'd like to refer to art historian Aby Warburg, who views the history of art as achronologic, attempting to expose what he calls the "survivings" in images of the era. These "survivings" are readable in subjective transformations that reactivate them and thus help their "revelation". 

In this sense, each exhibition project is discovering new possibilities in explaining what may be in the „cracks of existence“.                                                                                                                                                     

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