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Over a period of time I started to make the individual colour waves of the structure more independent and magnified.
After the initial paintings in which I tested some compositional variations of red, blue and yellow waves, I began to concentrate on their relationship with the painting’s background. I experimented with mother-of-pearl or the paint mass, into which I incised the lines. Apart from white, I was intrigued by the colour gold as the other possibility for the background.
This is a material colour. Given its historical applications it can be attributed with a transcendental nature. Most artists avoid it as being overly ostentatious. I may have been attracted by the risk and, also, I have an affinity for paintings from the Late Gothic and Early Renaissance period. However, I decided to demote the golden colour to a more mundane role while taking advantage of its sumptuousness and ability to reflect light. The overlaying network of undulating lines was executed in a transparent paint and the empty areas were filled flat with English gold which has a green patina. I aimed at achieving two complementary lights in the paintings – the glitter of gold and, in it, colours shining as if from within.
1997 – 1999