Prima Center Berlin

One of the most general ideas of physics which describes presence, appearance and the visual aspect of the world is space. Among numerous definitions of space I was intrigued most by the one which claims that the space is an abstract, conceptual, logic and mathematical notion which is used to describe the position of things, the relation between them and the entity of possible interactions between objects. Only our perception makes the field of comprehension real. Seeing is what constitutes the space of a painting and enables her and everything inside her. Consequential to having her own space, the painting has her own perspective as well. The space itself is not real, it is formed by people as its parts and it changes together with them. My interest is focused on the concrete space which encloses and identifies a work of art and the concrete space that the work of art clasps and lays in. That means that there is an established identity between what is shown and the real space, and this identity becomes possible through installations and ambients.The following question is obvious: How is the space of a painting being created? What is special about a visual work of art is what enables us to separate works that are transferred to a new surrounding from their earlier surrounding, due to the fact that it’ s space is not an objective concept, it comes to life with the creation of a visual work of art. It is a space in which spiritual values are being actualized, a space on the other side of the reality.


A visual work of art represents a discord from its source, a conflict between the earth and the sky, the horizon of existence. In that friction the artist is a fellow soldier and a teammate, he is a mediator. The reality creates a question about the simple existence, it discovers things that are just in front of us and are easy to be seen. It only points at the current form of things. On the other side, art is what enables us to get close to the pure essence of things. The essence of a visual work of art always portraits its connection with the wholeness of the world. It is a space-time of all the things, in which occurs coming to life and dying of every individual existence.

I am of the opinion that the best way for representing spatial relations inside a work of art is through installations. An installation has all the qualities of a group artwork, because it connects different concepts like space, light, sound and the motion of the observer. In this way the installation becomes a unity in a plenty. The established unity in the relations between objects represents harmony. I usually create a projects as a space- ambient installation, through which I strive to show multiple layers my work consists of. An installation is not just a bear assembly of objects but a space-dependent relation of many objects between which a separate, special space exists. The work itself is conceived as an ambient presentation whose inner side consists of a compliance of different separate entities. More precisely, it is divided into three separate layers/spaces and one inner-space, that consists of nine canvases on which willsome of the layers and spaces, holding the observer himself, be projected.


The objective of my research is to question the logic of the reality of space, and with that point to the notion about a different reality. By dismantling the layers of a visual work of art I want to place the attention to the way it exists in, how do relations inside it function and highlight the drawing as its essence. Actually, my projects are very much like a hiding-placeand with the opening of that hiding place I am opening myself, as well. By presenting thespace in-between I want to show that the being itself consists of layers and I see my projects as a strong alliance between thoughts and drawings, which has a power over reality. The drawing is created with me being present in it in the moment of its creation.

Another component of my work, besides the drawing, painting and light, is sound with which I want to draw the attention to the power of music to create or destroy. My interest for creating a sound installation was developed after becoming familiar with the music of Karlheinz Stockhausen, one of the most important composers of the twentieth century. The music he wrote was exceptionally difficult to listen to, from time to time absurdly pretentious in its endeavours to be greater than what reality has to offer. While exploring hiswork, I noticed that a music composition consists of layers and decided to merge the layersof the sound I have been hearing. Those sounds were not the sounds of the outer word butthe sounds coming from inside myself. What I wanted to achieve with all this, besides theintimate opening of my work, is for the observer to see the real me by using his senses.

The sound inside my installation represents a synthesis of silence, boring, irritating sound I hear every time I am about to doze off to sleep and the sounds that induced me to createcertain layers of my work. It is arduous, agonizing, the same as the path I took in order tocreate my work and I introduced it in order to carry out an experiment. I wanted to see howthe observers would react, would they be repulsed or would they be encouraged to approachthe work.

The obsession to behold my work as a whole drove me to the conclusion that it is only the light that enables us to comprehend a work of art as a whole. The lightened form createsthe idea about an outer cover, a cover that guards the inner truth-the drawing. The threelayers inside the installation are connected in a logical way, one after another. The workis defined by the layout of objects, meaningful articulation of the whole and the totalityof space. The installation will have features of a group visual work of art, because it willbring together different phenomena such as space, light, sound and the motion of theobserver. The established unity in the relation between objects represents harmony. Also themonumentality of the installation becomes necessary in order to draw in the observer and keep him occupied in a world of countless information.