The visualization of the struggle which burns inside and emerges on the surface of the outside world results in my pursuit of form. The quick brushstroke on the membrane of the tight, working canvas, the paint splashing around on the walls, the wet surface of the picture dripping on the floor of the studio – the spiritual energy being materialized.

        The texture vibrating on the surface, the lines and patches changing their shape, the space opening unexpectedly, the surprising contrast of valour, they are all traces of my struggle resembling x-ray light which penetrates the soul.       

        The form of the pictures is determined by the temperament, the burden of emotions and the force with which they try to get outside. It is not a destructive process, it is just the opposite. Materialising all that distresses me and curbs my spiritual and material development reveals the truth about suffering, human ethos, brings relief and enables me to confront the problems I become aware of and live with. 

        I transfer all that hurts me and what delights me from my heart onto the canvas. I reveal the emotional burden, pain and happiness, joy and despair, everything I am filled with while painting and all that struggles to get out of the deepest recesses of my soul. The uncontrolled eruption of personality, its primeval ingredients are curbed only by the resistance of the matter and the technique.     

        In the end the picture is only a shadow of what happened. Of course, I can control, to some extent, what happens by trying to limit the chaos of thoughts and feelings flocking in me. However, there is always a world of craziness and scream which I do not enter. 

        The emanation of my inner world, which can be all that concerns me, problems, pain but also the belief in their sense - they all cross my mind while painting. I try to “close” these feelings in the composition. That is why they appear as closed forms, often with biological connotations or resembling heads or faces. I do not do it intentionally, there is just no escaping from the simplicity and literality of the form.
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