The author’s cycles UNFRAMED and REFRAMED represent the key prototypes of my work. Above all, I attempt to work with the elementary meaning of the material, i.e. the canvas and nails. The common exhibition commodity on a wooden blank frame is transformed into the “matter” free from the installation perspective, allowing the reflection of the specific gallery space. Its principle may be repeated using various modifications, which does not apply to its precise form. On the contrary, the REFRAMED cycle represents an autonomous system of geometrical and meaning exercises developing quadratic layouts of the common painting format and the meaning of its frame.
In an attempt to capture the key rules of the conditions for creating and adjusting the suspension painting, I have discovered for myself a virtually unlimited area of an artistic experiment. In fact, I was attracted by the knowledge that there was a “medium” and that there was a “format” long before discovering that the conceptual art declared the discipline of current painting as corrupt and empty. However, the question “What should be the subject matter of painting?” may not be asked without the awareness of a superordinate problem: “What role should the contemporary art play in society?” For this reason, my work consists in, above all, attempting to integrate the borderline position of the painting tradition into the context of the current cultural and social framework and the contemporary visual culture.