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    1994–2000 Series: Red Monochromes, Margins

    Series: Red Monochromes, Margins

    I was more and more preoccupied with the meaning of painting for myself. Thinking about the phenomena of festivity and celebration I felt that painting itself is a form of a festive celebration, i.e. communication with something that transcends us. Let me explain. We may succumb to a festive celebratory feeling when we are faced with the mystery of life or death.
    In all cultures and historical epochs people who felt themselves to be in danger looked for adequate, purposeless celebratory actions accompanied by prodigious pomp as a form of communication with the power above ruling over life. Painting may not be anything as extraordinary but for myself it consists of moments that are the fullest and most intense. It leaves a track that may be followed, if we know how, to re-experience this exaltation. I resolved to make the actual process of painting, as a purposeless and wasteful use of time, energy and material, the theme itself. Red was perfectly suited to the task.
    I no longer applied red to the surface of the canvas as a background colour but instead started to paint waves on the white canvas, one laid next to the other, using transparent red, until I had the whole area covered. Once the paint dried I continued in a different direction which was in a geometrical relationship with the previous one, using ever smaller brushes and slightly intensifying things. The initial, extravagant waves were executed quickly and aggressively but, as the lines and waves gradually diminished, with increased concentration. The painting was not completed at that moment when the last white spot was overlain with red rather I continued until the second when it began to emit silence.
    One of the minor reasons that motivated me for the work was the fact that it is impossible to reproduce the paintings and therefore show what they even approximately looked like as the reproductions disclose nothing. It was in part a response to my finding that many viewers rejected my previous works, known only from print, as unsophisticated and superficial; many changed their opinion when they stood in front of the real paintings.

    1995–2003, 1994