2019-'20 Collection

The 2019-2020 collection deals primarily with emotions and symbolism. I like to isolate certain emotions like in pieces “Unchained”, “Woe From Wit” and “PMS”. Isolated emotions are clear and we can all relate to them.

There are also some sociopolitical issues I want to emphasise and will continue to work on. As an artist I view my work not only as something personal but also as a sociological document. Works about illegal sex trade, natural disasters, protests and the broken judiciary system convey some of these modern issues.

Art can touch people on both a personal and subconscious levels. I really like being symbolic by using both shapes and faceless characters. Symbols speak to us on a subconscious level - our minds analyse them automatically since we’re so used to logos and signs telling us what to do and what to feel in our everyday lives. It’s easy to process them and store them even when we don’t realise we’re doing so.

To put the viewer into the painting I use shapes of faceless figures. This works on a more personal level as the viewers can place themselves at the scene. The symbols then speak to their subconscious as if they were actually there. It’s harder to interpret a lot of artists because we try to understand what was it they were trying to say. When you’re the one facing the setting it is much easier to digest.

Illegal Art

No authority figure could ever stop me from making art. I have always been an unyielding believer in urban landscape as a structure for an open gallery. Every city has a soul and a vibe - urban art reveals the true spirit of a city. Barcelona, New York, Prague and many other major cities are boiling points of artistic foundries and they have the street art to show for it. If you give everyone a chance to express themselves you end up with a culture rooted in personal freedom which manifests progressive thinking.

When the authorities fight back and slap the wrists of would-be artists the society finds itself giving up further small pieces of their unalienable rights.

Art: “Unchained” - 2019

Legal Art

The problem with urban art is that the pieces never last long - they are promptly taken down and the artists are hunted down. If we want our work to live indefinitely and survive for future generations as a social document and a zeitgeist, then we have to focus on working with other support mediums.

Until urban art and high art are merged into one, it is in every artist’s interest to share their work with the broader public in order to convey their message. Not everyone notices a painting on a street but everyone notices a painting in a frame.

It is our social and political responsibility to help shape both the present and the future.

Art: “System” - 2019

From walls to canvas