The common denominator of my projects is the human being – his/her emotions, place in the world, relationship with nature. In my works, he/she is represented by a naked body which I perceive as a symbol of nature, its certain ideal. A body is a landscape, an object, a solid – I seek to show it in an unobvious manner. I strip it off any possible designators of space and time, unless their presence stems from the assumptions of a given project. A naked body, deprived of any attributes, is somehow undefined, therefore, one may say, timeless.
Historical representations of the body arch from the general (classical nude) to the particular (fragmentation). I posit that artists have said it all as far as representation is concerned. I have been wondering how this form can be shown in a different manner, what the next step can be, what its “indirect” representation may mean. A representation that speaks more of the body, but does not exclusively address corporality or an artist’s emotions, asking more general questions pertaining to human relationships in time and space and his/her “soul”, as well as to self-perception. It seems that artists’ works regarding the body, especially in the case of artists focusing on themselves, are subjective (or even egoistic) – they speak of and present the body from their own perspective, either emotional or conceptual one. It has occurred to me that a scientific perception of the body and its interpretation from such a perspective may be the most objective, and, simultaneously, capable of expanding our perception and giving new meanings and forms of expression to it.
My area of interest is a combination of art and science. They remain in a certain symbiosis, complementing and influencing each other. Science allows for images that refer to a new kind of aesthetics. Subjecting scientific images to artistic interpretation enables a new way of expression, gives them new meanings. Art helps introduce its consumers to the reality of science and so fulfils a certain adaptive function in the present, which is more and more shaped by science. The works created in this process are not only aesthetic, but also have a cognitive aspect – they help understand science and so, indirectly, art works to its benefit. Such works are not exclusively focused on representation, but require a certain knowledge to be interpreted. In my view, it is also one of the roles of art, as not only image, but ideas are important, too. Searching, creating, sharing this idea is essential to me as an artist. It is more important than aesthetics – a thing of secondary importance: the function and message of my works mean more to me. I do not intend to confine myself to a single style, I keep searching. I play with conventions, I combine various media.
I want my works to be ambiguous, not obvious. Creating projects, I seek to engage the viewer in deciphering my message. It is a certain game of looking for interpretations, finding myself in all this and confronting my perception with the perception of a viewer. I am intrigued by various readings of my projects, often truly surprising and different from my own.