S_M_L
The formal and the conceptual design of my project S_M_L Landscape is based on experiences of my earlier works and an analysis of these experiences.
The project is built up from several elements, and my analysis is focused on the interconnections between these themes and topics, as well as on their influence in our time.
The picture, which can be installed on the wall and which is applied on a specially designed canvas, deals with the subject matter of monochrome landscape representation. The concepts of space, time and colour are simultaneously thematised.
The work examines the borderlands of drawing, graphics and painting, and the exploration of the collective sets of these by showing homogenous, monochrome surfaces made of millions of minuscule, coloured dots. I draw the dots with drawing pens, using a magnifying glass. The dots form out “homogenous”, atmospheric landscapes, broken up by grids. As a result of optical colour mixing, the multitude of colours are transformed into one single, dominating colour, which creates an equilibrium in the space and gives a unique attitude to the pictures.
I merge the visual world of gradients, grid-landscapes, laid-out wireframes, parametric nets and 3D modelling software with the representation of a real existing landscape. With this gesture, I dissolve the contrast between existing and imaginative, the physical and the digital media.
The picture is an outcome of an intimate, meditative creative process. Dots are not merely instruments, but transformed traces, pores, breathing and pulsating projections of physical and mental impressions and thoughts, and units of impressions that incorporate the perception of the elapsed time and linear time.
The steadiness of the meticulous creative process and the constant build-up process draw attention to the inherent messages of the picture. Focusing in on the tiny dots, we can see their differences. Hence, the dots are always distinguishable from each other. They preserve an imprint of me, therefore they can also be defined as my “handprints”. The slow, monotonous working process plays a part in exposing the inherent details of the picture and discovering macro and micro worlds that give the real, true character of the artwork. The soft nuances come onto surface. The working method, by which the tiny dots of colour are, layer by layer, applied on top of each other, evokes the slow growth of dripstones and coral reefs. The lighter parts of the grid are composed of 6 to 7 layers of dots, the darker ones contain up to 17 layers. The creative process itself means a complete meditative calming down. When I sit down to work, my thoughts still flit around the everyday routine. As I proceed with it, my thoughts settle down and I get to state of clear mind.
Though it might seem that millions of dots vibrate on my picture, for me, this is the visual silence itself, absolute emptiness, that paradoxically contains every little momentum of the past three months, during which the picture was made.
The radical reduction of colours allows the artists to focus on the key elements. I have reconstructed the real-life landscapes, which I have documented during my travels, from little dots, and dissolved them to monotonous surfaces by the means of abstraction and reduction. But for me, this work is more than gradients and colour patches. It is an analysing, private picture that bears intimacy and sensibility, and gives possibility for getting immersed in something.
By stepping into the atmospheric space of the picture, due to the monochrome works and his or her own position, the viewer can experience different aspects of perception. Depending on the position of the recipient, the physical perception is constantly modified. Due to the layers of different colours and the varying distance of the viewer, the sight is constantly altering and the picture opens up. The vision of the picture is never the same: from the distance, it is homogenous, blurred and dim, but if we step closer, the colours that hide in the layers will reveal themselves, and suddenly, the fine nuances get a meaning. Necessarily, we see purple, blue, yellow first, and in the end the picture falls into pieces. If we look at it from a distance, the picture gives a cold impression, but as we step closer to it, it gains emotional intensity.
The project is built up from several elements, and my analysis is focused on the interconnections between these themes and topics, as well as on their influence in our time.
The picture, which can be installed on the wall and which is applied on a specially designed canvas, deals with the subject matter of monochrome landscape representation. The concepts of space, time and colour are simultaneously thematised.
The work examines the borderlands of drawing, graphics and painting, and the exploration of the collective sets of these by showing homogenous, monochrome surfaces made of millions of minuscule, coloured dots. I draw the dots with drawing pens, using a magnifying glass. The dots form out “homogenous”, atmospheric landscapes, broken up by grids. As a result of optical colour mixing, the multitude of colours are transformed into one single, dominating colour, which creates an equilibrium in the space and gives a unique attitude to the pictures.
I merge the visual world of gradients, grid-landscapes, laid-out wireframes, parametric nets and 3D modelling software with the representation of a real existing landscape. With this gesture, I dissolve the contrast between existing and imaginative, the physical and the digital media.
The picture is an outcome of an intimate, meditative creative process. Dots are not merely instruments, but transformed traces, pores, breathing and pulsating projections of physical and mental impressions and thoughts, and units of impressions that incorporate the perception of the elapsed time and linear time.
The steadiness of the meticulous creative process and the constant build-up process draw attention to the inherent messages of the picture. Focusing in on the tiny dots, we can see their differences. Hence, the dots are always distinguishable from each other. They preserve an imprint of me, therefore they can also be defined as my “handprints”. The slow, monotonous working process plays a part in exposing the inherent details of the picture and discovering macro and micro worlds that give the real, true character of the artwork. The soft nuances come onto surface. The working method, by which the tiny dots of colour are, layer by layer, applied on top of each other, evokes the slow growth of dripstones and coral reefs. The lighter parts of the grid are composed of 6 to 7 layers of dots, the darker ones contain up to 17 layers. The creative process itself means a complete meditative calming down. When I sit down to work, my thoughts still flit around the everyday routine. As I proceed with it, my thoughts settle down and I get to state of clear mind.
Though it might seem that millions of dots vibrate on my picture, for me, this is the visual silence itself, absolute emptiness, that paradoxically contains every little momentum of the past three months, during which the picture was made.
The radical reduction of colours allows the artists to focus on the key elements. I have reconstructed the real-life landscapes, which I have documented during my travels, from little dots, and dissolved them to monotonous surfaces by the means of abstraction and reduction. But for me, this work is more than gradients and colour patches. It is an analysing, private picture that bears intimacy and sensibility, and gives possibility for getting immersed in something.
By stepping into the atmospheric space of the picture, due to the monochrome works and his or her own position, the viewer can experience different aspects of perception. Depending on the position of the recipient, the physical perception is constantly modified. Due to the layers of different colours and the varying distance of the viewer, the sight is constantly altering and the picture opens up. The vision of the picture is never the same: from the distance, it is homogenous, blurred and dim, but if we step closer, the colours that hide in the layers will reveal themselves, and suddenly, the fine nuances get a meaning. Necessarily, we see purple, blue, yellow first, and in the end the picture falls into pieces. If we look at it from a distance, the picture gives a cold impression, but as we step closer to it, it gains emotional intensity.
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