whynotbeart: printing

COLOURS, SURFACES & PATTERNS

For me an artwork could be called an artwork, only if it has a soul. The artwork must be able to speak with the viewer and the viewer must be able to feel the emotion of the work without words.

It doesn't mean that everyone should feel the same about the artwork, it only means that it's important to feel something when you're looking at it. If you don't feel anything, it isn't good enough for you.

At my latest work I tried to create unexpected spaces by combining colours, surfaces and patterns. I began my work with a photograph which I took last summer. The portrait of my friend Gabriele sitting in the library and drinking coffee lead me to the idea to play with different colours and watch how the emotion of the moment changes. I experimented a lot, I learned so much just by trying different things and I can't say that I'm done now. The aim of my work wasn't to have someting done.

I was painting to learn and to grow, like I always do.

COLOURS, SURFACES & PATTERNS, 30 pieces, 59x84 cm, 2014, Berlin

January 13, 2015
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AFRICAN WOMEN

printing

Linoleum printing isn’t something only for children. It can be pretty exhausting if you’re doing a large piece of art and also quite dangerous because you can cut your fingers so easily. And there’s variety of possibilities what you can do with it.

This time I cut several figures of women body and tried to place them so that they create an abstract ornament and lose their prime meaning. I used bright colours and gestic painting to create an impression of a movement and chaos. The details are not so important as the whole impression of the colours and forms in these paintings.

AFRICAN WOMEN, linoleum printing on the chinese paper, various sizes, 2014, Berlin

November 10, 2014
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WHOM BELONG OUR MEMORIES

printing

Old photographs are memories which are caught moments that should never end. Sadly, often we are not sure anymore to whom they belong. Watching them is like living others’ lives somehow. Imagining your grandma with your grandpa, how they met, how they fell in love, how everything was back in those days…

Watching those photographs over and over again and thinking that I should do something big with them brought me to the idea to dedicate at least one of my artworks for my grandparents.

I guess I was already living with similar thoughts of creating something fascinating with these memories so that they will stay a bit longer, longer than one person can remember. Thus they will reach people, which have nothing to do with these memories. And also those other people will imagine new stories of them and lives different from the one they had lived. That’s the way how memories can live one life after another. That’s how they can always stay alive just like true love does.

So our ancestors could live a billion different lives if we let them.

GRANDMAS & GRANDPAS, silk-screen printing, A4, 2014, Berlin

October 12, 2014
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SIXTY PIECES OF TWO CITIES

printing

When I get to work with silk-screen printing, I did not know what it is. So I decided that I will not only learn a new technique, but I will also do something totally different as I ever did before.

This time I set up well defined rules: I will create something with urban landscape and photographs by using the least different colours.

It looks like the rules were not so foreign to me, because soon I came up with an idea to create new spaces by composing several linear perspective points in one picture. I began to simplify the photos taken in Vilnius and Munich only to their contours, which lead observers’ eyes to the vanishing point.

I took six different photos and used them in screen printing. I don’t know how many sheets of paper I used. I simply tried and tried one layer on the other and I kept doing that like there was no ending. Basically I did not think what is happening I simply let my mind and my hand lead me. My goal was to try so many different variations with those six photographs as possible and to see how it works out. Sometimes I made maybe ten or twenty different layers a piece, sometimes I made only two and both of them looked amazing. And sometimes both looked so terrible that I threw them away without a doubt.

To sum up, I relied strictly to my rules. People just play a minor role in these pictures; the main theme is about perspectives. I also used mostly black and white, and a wide range of shades of grey. At some pieces I also used some red and maroon, but I actually prefer the black/white ones. I accomplished what I wanted to reach, I learned something about silk-screen printing and I utilised photos, what I had never done before. I experienced the joy working with urban spaces and understood how many possibilities I have when I work this way. In the end, I am totally happy with my work; not only that I did not expect that it went so well but it was also fun to explore new possibilities that I have never imagined before – despite of all these restrictions.

VILNIUS & MUNICH, 60 pieces, 29,7x42cm, 2014, Berlin

October 07, 2014
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COLOURS, SURFACES & PATTERNS

AFRICAN WOMEN

WHOM BELONG OUR MEMORIES

SIXTY PIECES OF TWO CITIES