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The paintings were created using the effect of perpendicular articulation of stripes and experimenting with zooming these “manually digitised” striped surfaces to their own autonomy. I noticed that the wider the stripes are, the better their vertical division corresponds with the format of the painting. I tried to use this perpendicular articulation also for the reincarnation of some of my earlier paintings. For example, “No. 21” from 2005, in which the colour stripes between the wavy lines are arranged checker-wise. This way originated such paintings as “No. 4 “ or “ No. 16” from 2010. In monochrome versions with wider stripes began to emerge gradually rectangular architectural shapes. As if some mysterious and abandoned buildings. I broadened the stripes so that it was impossible to read the original wavy lines, which determined the length of the stripes, and I experimented with blurred and sharp edges of the surfaces.