FORMULA OF THE EGG . 2013
Oil, black acrylic enamel on canvas, 300 x 400 cm
FORMULA OF THE EGG . 2013
Oil, black acrylic enamel on canvas, 300 x 400 cm
SEVEN. MENTAL CREATION OF MATTER . 2017
Oil, black acrylic enamel on canvas, 300 x 480 cm
ANTICIPATION . 2011
Oil, black acrylic enamel on canvas, 300 x 600 cm
BLACK SHADOW OF PUSSY CAT . 2012
Oil, black acrylic enamel on Fabriano Accademia paper, 150 x 300 cm
Rijksmuseum, Amsterdam, The Netherlands
Group exhibition
15 July – 15 September 2019
Wurlitzer Art Quartier, Berlin, Germany
Group exhibition
26 – 28 April 2019
CODA Museum, Apeldoorn, The Netherlands
Group exhibition
15 December 2018 – 10 March 2019
MEMORY OF THE SUN . YE 01:17. 2016
Sennelier cadmium lemon yellow dry pigment on canvas, 100 x 100 cm
THE FEATHERED AGGRESSION . 2008
Interactive installation, 180 x 470 x 170 cm, white feathers, mixed media
“Russian Dreams” group exhibition, The Bass Museum of Art, Miami Beach, USA
The idea of Figurative Numerical Painting has a triple origin. Firstly, it is based on the theoretical work “The Spiral-Driven Development of Colour” which develops the results of a long study of the laws of colour. Secondly, it is part of a quest for a new language in painting that would be truly contemporary. And thirdly, it is meant as an alternative to digital computer painting where images are decomposed into pixels rather than figures.
It is common knowledge that the prism divides sunlight into a spectrum. In physical optics, the length of each colour’s light wave corresponds to a certain sequence of figures. In Figurative Numerical Painting, the shortest wave length, violet, is represented by the number 1. The number 9 represents the longest wave length, purple. The complete spectral scale based on each colour’s wave length is as follows:
1 – violet
2 – blue
3 – blue-green
4 – green
5 – yellow-green
6 – yellow
7 – orange
8 – red
9 – purple
Each colour figure can develop in shades towards black or white. Thus, the entire visible part of the spectrum can be translated into figures that allow a refinement of colour, i.e. it is possible to paint in numbers.
Smoke is one of the most intricate shapes. It is the image of unrest, instability and freedom due to its volatile and even turbulent features. By replacing each minute particle of smoke with monochrome figures, each of which constitute a fraction of the entire form, I explore new means of organizing the compositional space of painting.
Beetles and butterflies participate in the realm of colour. The refraction of sunlight in the feathers of exotic birds and the wings of polychrome butterflies is translated into figures, allowing these shapes to be articulated in a newly structured space.