The preparation of canvas has always been a physical process, manifested by changes in the colour structure and traces of mechanical interventions on the surface of the canvas. Layers of paint, pigments and varnishes that intertwine, document an image history, its development and the search for identity through the arts-dialectical process.
What is visually dominant is the repetition of black curving forms that link the circles' drawings to a minimalist sign with raw industrial textures. The co-ordinate system (cross) and the geometric circle scheme which determine the initial proportions are plotted in the base of a motif. Sometimes it is traceable by the charcoal marks and lines. That part of the process, for me, has esoteric nature that relies on models simultaneously taken from mystical traditions and scientific theories as well. By re-shaping the motifs in several stages I get a more freestyle composition.
Their dynamics are no longer based on the foreseeable movement of a continuous brush stroke but rather in a sparing of forms within a format that opens up a spectrum of potential opportunities as long as the process lasts. By the physical vocabulary just by making a decision that stops painting-experiment, I turn from the active force into the observer and summarize the mind wave into a particle with a fixed reality.
The same procedure of construction and deconstruction is applied to ready made reproductions, whose pre-determined reality is changed by intervening in black minimalist forms without intention to further fill space but to create a negative dimension and become a measure of emptiness within the form.