…When I was a child, I wanted to be a cloud.
…If I were a cloud;
I’d appear above you, then dissipate as if I’d never been there. But if you looked, you’d see me transform… You can’t come with me among the clouds!
But I’ve brought a few glimpses of the sky…
The exhibition stems from a simple question: what is the color that most surrounds us? For me, the answer is blue. Blue is simultaneously connected to the world around us — the sky, our waters and to an inner experience that is difficult to put into words. However, the goal of the paintings is not to depict the sky or clouds, but rather to capture the shifting sensation as the surface begins to transform under the influence of our attention.
At first glance, the images appear as calm, almost monochromatic surfaces. As we spend time focusing on them, the color seems to expand, and the static image begins to move. The multiple, layered glazes and the brushstrokes arranged side by side create a kind of system. However, this does not serve to depict a specific form, but rather examines the relationship between space and color within the picture plane.
At the same time, the relationship between the painting and space also becomes important. I am interested in how long a work can be considered a painting when the form of its medium changes, even though it continues to be composed of the same materials — wood, canvas, and oil paint. The question is not merely what a painting is, but also where it begins and where it ends.
In the exhibition, individual works can be interpreted as standalone pieces, yet in relation to one another and to the exhibition space, they form a larger spatial construction. The space thus becomes not merely a single type of support surface or a venue for presenting the works, but itself becomes part of the relationships between the works.
How does the process between the artwork and the viewer become perceptible? My aim is not to convey a predetermined meaning, but to create an open, experiential space in which the viewer’s own attention and movement also shape the interpretation of the artwork. In this encounter, another, invisible creation also comes into being: the viewer’s own experience, memory, and inner image.