Artist's Statement
In my work I deal with the relationship between the natural landscape and human nature. I focus on the mental need for natural wildness and human nature in general, but particulary myself. I reflect on the perceptions and feelings acquired in the landscape, which are stored in thoughts and then return to them as imaginative landscapes, independently worlds, whose visual form springs out from within me. The development of the ego is to blame for the loss of nature from within each of us. When we are still children, we perceive our surroundings through optics, which disappear over time due to adolescence. The unburdened view of a child or a mentally ill individual understands the artistic expression based on its process, not the result. I try to feel this sincere and pure process during the painting and thus give space to the most spontaneous artistic expression possible. I insert the natural essence into the contexts of my paintings using by the medium of natural ink. It is a lengthy process from the very stay in nature, in order to find inspiration and the necessary material for the subsequent processing of natural products into a special scale of inks, to the very act of painting. The natural origin as well as the overall process of creation influences my treatment of ink and intensifies the deeper and more sincere to feel the process of painting, which takes place on a purely spontaneous and meditative level. Using by the natural ink, I bring various effects and structures to the paintings, the constantly changing character of which is ensured by the organically acting visual of the paintings. I correct abstract micro worlds or imaginative landscapes that are inspired by the natural environment with a random stain. In addition to abstract structures, I partially situate myself in my paintings using by a free, anatomically inaccurate depiction of a woman's torso.
Biography
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I finished the first degree of study at the Academy of Arts in Banská Bystrica, in the Studio of Drawing and Classical Painting Disciplines with prof. Ľudovít Hološka, ​​acad. mal. Currently, I continue at the Academy of Arts, in the second degree of my studies in the free art program. In the first years of my studies, I focused mainly on still lifes and figural studies. In addition, I developed my own themes. These include, for example, the Landscape of Body and the Herbarium of Imaginations, when I started using natural ink. The self-help preparation of inks and paints was foreshadowed by my love of plants. I was thinking about how to incorporate this hobby into my work. Finally, it came to me in the form of the process of discovering the colours of individual plants and other natural products. Over time, I found that by changing the pH, I can change the color of a given ink and create various organic effects, in which I finally lost the demands. Currently, the process of producing natural inks is one of the main pillars of my work.
Main topics of my work
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The Herbarium of Imaginations
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The Herbarium is destined to record information and knowledge about plant species. The Herbarium of Imaginations preserves the perceptions, thoughts and ideas collected in the landscape. However, they are subjected to a certain distance, which is necessary to create an overview by contemplating over the perceived perceptions and the subsequent storage of thoughts in the Herbarium of Imaginations. I return to places in nature that are close to me with my thoughts as to constantly changing imaginative landscapes or independent worlds, I perceive them as an endless microcosm full of bright colours. I put my thoughts into the individual paintings, which are inspired by even the smallest details from the natural environment. The loss of nature from within each of us may be due to the development of the ego. When we are still children, we perceive our surroundings through optics, which disappear over time due to adolescence. The sincere expression of a child or a mentally ill individual perceives artistic expression on the basis of its process, not result. I tried to feel this sincere and pure process during the painting and thus give space to the most spontaneous artistic expression possible. The Herbarium of Imaginations is therefore based on the contexts of Art Brut and Outsider Art, forms of untrained fine art.
Metamorphosis of the Body
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In my work I point out the importance of the idea of ​​natural wilderness. I use photographs of details from my paintings, where I focus my view on organic structures. During the work, I researched different colored textures in combination with body details. I worked with mine and my partner's body. I overlapped the photographs of secondary sexual characteristics and skin details with the organic structures of my paintings using the double-exposure function. For me, this work has a deep emotional meaning of an intimate relationship with a close person who is my partner. With this work I reflect the relationship that is between us, but also the natural and spontaneous motives of human behavior. The different textures of my and my partner's skin allowed me to process the issue in detail. In my work, zooming in or focusing has a deep metaphor of relationship and mutual knowledge, which, however, are shrouded in mystery by the viewer, when he is forced to research which detail belongs to a given part of the body, whether male or female. In some details, however, it is clear to know who the body is, which is to some extent helpful to the viewer.
The Landscape of Body
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The Landscape of the Body deals with the transience of the human body, which came from nature and returns to it. The aim of the work was to point out the natural and naturalness character of the human body, in order to confront the invasive activity of human towards nature. The use of the female torso runs into my own identification with this theme.
Absent-minded
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The reduced female body is free of facial expressions and gestures, it might seem that it is an anonymous torso. Nevertheless, it represents my self-portrait - every presence in the memories, which is also deprived of a specific form. It is present only in feeling and in the undefined, sometimes empty space in which the body is located. Anatomically inaccurate, free figuration is part of the intention. The randomly melting ink is allowed to dry, further different effects and structures. The female torso and its organic, vibrant texture refer to natural wildness and naturalness. It also characterizes the fleeting impression of memories / moments. It is a latent presence in the memories, I can't see my face, I only feel that I am in the place or moment of the present. We do not see our face in the memories, in the environment in which we were, we can perceive, we know that we are present there - the presence in the memories, in a place that I remember. I'm there, but I can't see myself, I perceive, I feel.
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The Time-Lapse Body
The topic of the Time-Lapse Body deals with details of the human body, such as birthmarks, wrinkles, and ongoing biological, organic events, such as transformations of cells attacked by external influences, or differences in body skin tissues. The human body changes naturally, transforms over time, as do natural inks, which change their color under the influence of humidity and pH. They live just like the body of a plant or a human. The details of the skin, marks, wrinkles, pores or pigment spots encourage me to look at this issue precisely and to change the color under the influence of imagination and create a microworld from a given detail, which is shrouded in front of the viewer and deprived of specificity, when it is not quite clear what they look like. details I used.