In the series «Walls» I explore the limits of the possibilities of figurative art — where the mimetic ends and the abstract begins. At first glance, the works reflect unremarkable, unidentifiable elements of everyday life — fragments of old walls, the so-called «non-places» (Marc Auger). Layers of peeling paint, cracked plaster and stubs of ads taken out of context are perceived as abstract stains. But once in the field of painting, they acquire a new meaning.
Japanese haiku are arranged in a similar way, based on the author’s direct experience. They are best perceived as part of a large whole — a poetry collection, a series of poems or correspondence. In order to appreciate the haiku, the reader needs to rise above the words — just as the viewer should try to look behind the wall to find the solution to the artistic work.