Since 2003 I have held an ideal. I am searching for the connection between the metaphysical and materialistic senses of objects. Research specifically focused on the ideology and philosophy of objects. The motto of my art is turned to discover the difficult connections between objects and people.
I have always wished for ultimate simplicity, which, for me, is the best way to express myself, I believe too many words outstrip reality.
The basic vision of my installation ‘Kiss the sun Icarus’ is to create an open object construction that is fundamentally based on the ancient mythological story of Icarus, who flew too close to the sun. This leads us towards finding connections between everyday relationships that, until now, have not been shown or discovered.  I wanted to prepare an art work which is theoretically open and yet effectively reacts to the global happenings of today’s world, such as history, Religion, East and West but also individual and crowd. I want to observe the parallels of interaction. The object will give the observer the opportunity to connect the analogy with diverse interpretations, to mix cultural differences and finally find the balance between them.  This free dialogue aims to open boundaries between the spiritual and materialistic world, providing a crossover of connections past and present and develop new civilisation values. New communication will open the way for multicultural definition and theoretical explanation.

I have prepared a complex yet intimate code system, which provokes new questions without the need for answers; each question should lead to another.
This open theory is the spine of my theme.
A meditative, constantly connected and changeable associative organ.
My method so far has been spent on experimenting with the material and the form. I have sought different solutions. I have dealt with the relics and scenes from my personal life and Eastern-European existence. These have become the most important pictures of my thinking. Personal references of collective stories; the meeting of my childhood dreams with reality. The mystic whispering of tatty industrial estates, hangars and desolate buildings, indescribably sunk-in bitter-sweet confessions. The prints of the realistic and metaphorical buried deeply in our souls.  The precisely reconstructed past, with its importance based upon the lack of inexplicable lies. The guardians of time. The objects themselves have become the main motifs of my work. The numb witnesses who outlive their creator and express their harshly honest opinions.

The main motive is a complex of objects transformed into a different social space. This creates a mirror image of the symbolic identifications of our cultures. These objects form a strange coherent atmosphere created from a lifetime of stored images and intuitions.
These items are our logical or illogical imaginations; complex structures of our memories. With them I try to create an imagined situation, and transfer the audience into a natural world as if plumbing them into the depths of existence.

The structure of ‘Kiss the sun Icarus’

The construction of the installation is being built using seven winged bicycles, placed at the knave of the church and surrounded by a specific lighting system.  The composition is concerned with (finding space again), finding space as a symbol; discovering a new relationship between time and space.
Recalling past theories and exploring new unseen analogies in relation to objects and undiscovered spaces. The aim of the sculpture is to build up a new relationship symbolizing the combination of an ordinary object and spiritual intellect. The resulting mythological creature is a symbolic representation of the basis of the human intellect linking with the idea of moral freedom.

Conclusion

I can make a plain version through my own private settings and rituals, imaginative projections…I can make them as precise as I can and then after that…you decide what the pictures are and what I am. I can give you discoverable structures, signs and meanings and you may want to learn the ambiguity of our senses but, we have to understand, the fact of emotional drawings can only be our own journey, what we may share and find our own measure in time.

This body of work unites many of my central themes: nation, identity, time and myth. Although I found some of these ideas non directly adjustable with my recent work they helped and formed the structural shape of the ‘Kiss the sun Icarus’ installation particularly those that have led me to find and clear up the form of my thinking of the rediscoverable structures of historical changes. These have also helped filter materials through my own experiences and emotions, choosing what I want to look at and what I wish to remain untouched or concealed. The flying impossibility is the metaphor of our constantly and endlessly changing historical existence. Argument between history and fiction, a desperate search to find the lost elements of the information of past and future. We know that pushing meanings into an already stuffed corpse brings about the question of our past reality, and without certainty future will not have a clear form. This sense of lostness makes us attempt new investigations of our history, to create a new version for the discovery of our own emotional language.