East-central west

The elements of the series were inpired by graphic design solutions found in Japanese public spaces. I consider these as originals (although they consist of copied forms), and my own works as copies. These everyday objects are interpreted as artworks. I presume, that what I discover, is their intended meaning. Garbage declared as the world’s art products, also can be a critique of the consumption-based lifestyle. With this approach I begin to make copies. I create a kind of paraphrase of the original ‘work’ using existing methods and notorious examples from the art history. In my intention, this leads the interpretation in one certain direction. The vagueness, given by the inaccuracy of the objects and the unintended mistakes, opens up to me a huge association field, on which basis I can choose the direction I like. The wider are the possibilities of interpretation, the better I can use them. The well-known art history references are the common denominator in the series. The familiar solutions make the déjá vu feeling. My intention is to stay objective; as much as I can I abstain from giving details of personal content. The personal aspects of the series are the moments of picking these examples and my own associations which explain my choices.

Kyoto’s Caution Boards

woodcut, linocut on paper, 23 x 29 cm each, 2018


screen print on plywood, 200 x 165 cm, 2018

Romance zero

digital print, lightbox, 43 x 76 cm, 2018