In my understanding of the concept of painting, where the thoughts of the New Materialisms (plural form used intentionally since there are several ) and some feminist views flow into it, this concept is not "painted out". There is only a need for re-self-reflection.
A picture is not only a picture; the diversity of a person, who is also characterized by different social and mythological fictional narratives, manifests itself in their space, where they are combined with the layers of the (invisible) material and the information contained therein coincides. This information moves beyond the individual. I understand my painting practice as materialized consciousness. This thought shows that a thought is always material, and matter always belongs to the mind. The working process reflects the unconscious, the coexistence of the subject (I) in access to the other and to the cosmos. Progress in the natural sciences and the experience of the present require a re-evaluation of materiality.
This means a radical reflection of the essence of materiality and its meaning for the natural and social processes we experience. In this sense, ephemeral sculptures of pure pigment are created, originally from the painting practice mentioned above. The realization that the pigment is light - before it is color or matter - corresponds to the work in process, but leads to further thoughts, visual as well as non-visual effects of the events. An intersection of the visible with the invisible, where seeing loses meaning, while other paths beyond pure sensory perception come to the fore.
The material is not only subject to the touch of the artist but also to his inner logic. I don't bind pigments with a medium as usual. They are pressed, pure, into unusual, almost perfect cubic forms. The sculptures disintegrate and thus reveal their inherent vulnerability and their (in)transience. The works thus develop from static objects to the thought of the dynamic movement of matter, of the event and the emergence of a new one. The production of sculptures involves industrial, mechanical and printing processes. Although they are obviously human, technology is as much a product of man as any image, when this emphasis is on matter itself and thus it makes my research almost scientific not ʺmerely artisticʺ. Sculptures are tactile, directly physically present in space. Sculptures are tactile, directly physically present in space. A point in space, a contraction of pure pigment - an experimental, ephemeral work that only temporarily takes on a certain/one form. They carry within them invisible information that resonates in an "encounter" with the subject. Each "encounter" is different (the resonance fields are limited), sculptures are no less a body than we are, whereby the condition for experience and exchange is only possible through direct contact. I think that "functioning" art-making and experiencing involves an extension of the boundaries of subjectivity (of the Self) in the narrow sense of one's own body, a slow process of self- fragility and of getting to know "others" (which one can call love).
An excerpt from the text AN ATTEMPT OF TRANSFORMAT OF ONTOLOGICAL PERSPECTIVES OF THE PAINTING-PRACTICE
translated by Dora Kastelic
1 Artforum online. Interview Bracha L. Ettinger, 02. Juli 2018
2 Epštejn, Mihail: Znak_vrzeli. O prihodnosti humanističnih ved, Ljubljana 2018