Primer 2

(acrylic, canvas, wood, 100 x 70 x 10 cm)

The name of the cycle is based on anagram of the English term expressing the designation of a base colour, or a textbook for beginners. The base colour is in its essence the basis of every painting, while dealing with minimal forms assumes the viewer’s readiness to perceive reduced forms. The primary act of the painter in the form of moving the brush over the surface of the painting and its style are in this cycle mechanically reduced to searching for aesthetic harmony or disharmony between the ratio of universal style to the effective use of surface glazing. In combination with relief surface of objects which thematize primarily the absence of a classic picture frame the cycle aims at evoking the inability to grasp a fixed point for viewing a particular work of art. While the viewer can be manipulated to such a degree as to force him/her to move around the painting (as opposed to its exclusively frontal observation), the “objective” interpretation via documentation is practically impossible considering the varying gallery lighting conditions and capacities of different cameras. The interpretation of the painting is thus bound exclusively by the dialect of the “painter’s parlance” and its technical basis.