In my work, so far, I have been exploring and developing the concept of the modern image of the classical print graphic, while confining to the unconditional suggestion of the black-and-white image. I am provoked by real objects, whose impact results from their monumental and abstract minimalism. The essential is their esthetic potential locked in their pure graphic structure and different materiality. I am interested in the condition of these forms as they are in a certain moment, with their contrasts and halftones, specific perspectives and elements.

In search of a more complete and straightforward idea, I concentrate on the realistic impact of the objects, and sometimes I strive for photographic precision, going beyond the eye of the camera. Thus, I overexpose their individual character, while at the same time I juxtapose the structural essence of these objects, which oppose the visible world. This challenges me to search for the connection between the “objective” photographic image and its transformation into a graphic technique. And vice versa; interfering in the objectively created structures, aiming at the transformation of the pictured information into the unpredictable and accidental. These “interferences” load the image with a new paradoxical meaning and bring it into an endless reincarnation, transforming the space. This turns the moment into eternity and time ceases to matter.

This way I rationalize the idea of creating “accidental” anomalies in one “pure” image, but instead of abruptly depriving the viewer from their role of peaceful observer, or “listener”, it rather suggests the meditative concentration of the thought. In this I find analogy with the clash and, in some cases, with the homogenizing of these two medias, photography and printmaking, which is the essential vision of my future projects, exploring the melting of the idea between the imaginative and the real.