Through the manipulation of thin layers of translucent oil paint, I was able to depict different light sources and dimensions in the painting. The other parts of the painting have a thick applied paint and it is not a random application, but considered study of fabric, eyes and other elements of the painting. I observed different kinds of many different surfaces and textures. The central figure has a lot of detail and this part of the painting catches our attention. I meant to capture and hold the close attention of the viewer, and lead them to meditate on the details and take part in the conversation. We watch them, but they watch us too. I titled the painting ‘Flat Emotion’, because the painting has three suggested vertical divisions of the space. Painting has a lot of elements which I study carefully and with detailed attention, but the painting itself as a whole gives an impression of being flat. Painting has a lot of layers, which can be discover by careful study in person. The painting is big, but not overwhelming.
It is a great opportunity to be able to live on two continents and make paintings in two different parts of the world. It is much more refreshing for my mind than only holiday travels. The experience of going to the place you know and where I have worked before is priceless and gives new means of freedom. This little change brings satisfaction for many aspects of life.
During the first day in the old studio, where everything had its beginning is like meeting old friends whom you have a lot to tell. Being able to look at some of my older paintings and to see progress I have made in newer ones is amazing and I wouldn’t be able to see this progress in my work without experiencing the change in place and perspective. Seeing the dust on my pallet and packages which have been going in and out from exhibitions is encouraging and makes me want to work on paintings straight away without any cleaning or tidying up the space.
Now, we are living in global village in big cities. Some of them are strategic cities where major transformations take place and some smaller ones follow that experience of social changes and dynamics. All of them are a part of larger transformations. Today, it is not enough to be based in one place or city. The best I can get from what I do as a painter is coming from the experience of different styles of life, on two different continents. My practice is not limited to only painting, I practice a ‘life’ in various cities and different cultures. My painting is a part of this global environment where anything is possible.
These possibilities of taking your creativity from one place to another also cause struggles and require survival skills in the global village. I believe that cities themselves are not a jungle anymore, where you find your way to live. The real challenge right now is developing the capability to move among them and to identify them as one of your home to which you come back whenever possible.
“Travel makes one modest, you see what a tiny place you occupy in the world” Gustav Flaubert.
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