The next stage in the existence of a picture is presenting it to the viewer. Exhibiting a work of art in the gallery, in the broad or limited public consciousness, enables the artist a personal interaction with the viewer. 

        In my paintings I try to shorten the natural distance between me and the viewer, making it easier for him to find the way to share my feelings, to experience sensations and emotions through the pictures.

        The technique I choose, which consists in painting undefined shapes with blurred colours by leaving traces of quick brush strokes, is not solely deliberated. It is the result of many factors and decisions I intend to write about in this dissertation.

        Actually, since everyone is different, he interprets the same picture in a different way. First, the viewer tries to recognise himself in the work of art, find the elements with which he could identify aesthetically, emotionally and spiritually. And mostly he discovers at least one of the aspects mentioned above. 

        We contemplate modern and historical, great and mediocre, professional and amateur art from our own angle. The viewer “tames” art, which is the opposite of creating it, which, in turn, consists in consuming a work of art by interacting with it more or less intimately. The viewer also tries to find his own identity in it, and, he manages to do it becoming, at the same time, more and more aware of his feelings and aesthetic preferences.  

        The picture is supposed to touch the right chord in the viewer’s personality and stir his emotions and feelings.

        Encounters with a spiritually deep work of art enriches the soul, with an emotionally hot one warms the heart, with a genuine one discovers the truth, and with a boring one makes the viewer inactive and indifferent. 

        I am often positively surprised by the viewers I meet in galleries – they share their interpretation with me – not always the deepest one, but innovative for me and confirming the thesis that the picture is a mirror for the beholder, not only for the artist.

        Sometimes my pictures seem to be absurd, senseless, incomprehensible. At that time I recall lively reactions of the artistically uneducated people, who “see” in these works their own concepts, which I did not notice. In this way, they add a new dimension to my works, resulting from the dialogue and confrontation with the viewer.
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