Drawing is a fundamental type of expression, it’s a kind of trace left on the piece of paper, never preprogrammed, planned or prebuilt. It comes suddenly – the desire of leaving a trace. Feelings, everyday life, the moment, mood have a great influence on my hand direction, tilt and pressure of my hand-held tool.

Through the line’s nature and the drawing gesture I’m trying to redraw the feelings which are difficult or even impossible to express with words. When I look at my drawings in retrospect I can see lifelines, weekdays interleaved by exceptional days, repeatability and schematic of our life, the secret of our future, the horizon… I also see barcodes, cardiograms, handwriting, notation… And you? What do you see?

A few years ago I realised that my painting is running essentially in two abstract fields. Both are exploration into colour, texture, mark making and painting matter. One of them is more organized. The main effort is concentrated on choosing the color and adopting it to its “biological” form, not dissimilar to creating a DNA structure. The painting is, however, not precisely designed at the start point and there is a lot of space for unplanned decisions during the process.

The other direction is much more spontaneous. There is less calculation, analysis, maths. Gesture, feeling, mood and touch become prevalent. These two ways of painting are competing with or complementing each other, showing predominance of one over the other. These two paths have always accompanied my painting: one discovers intellectual structures while the other participates in biological spontaneity. This is a both inspiring and difficult situation during the process of painting which has always produced unique effects.

There are also two separate courses of my photographic activity. One of them is more documentary, sometimes using a large-format camera to capture as many details as possible, sometimes utilising pinhole photography with its specific language and aesthetic. The second path is closer to creative exploration.

My photographs most often look for a metaphor of human nature in the ambiguity of geometric shapes and light. Geometric forms of our daily space — walls, floors, ceilings and traces of light – suitably and precisely stand for the vague human anxiety. Flat and definite yet also abstract and unreal due to their spatiality, they tell us of humans, limited in their physicality yet spiritual, undefined and indescribable.