The way of painting and thus style, is three-layered.
I introduce "architectural" elements into the
monochrome layer of the "background" and through the whole image, for
the purpose of balancing and calming the scene. The color layers open up the
horizon, but I distort the perspective, to close it. I avoid the common point
of intersection in the background, I want a “Japanese” calm sequence of scenes.
In the second layer of the depiction, the colors are
chromatically brighter and are in the range of the tonal scale. I equalize this
layer of fragmented color surfaces and the color scale of the whole, allowing
only half the contrasts.
Gold intervenes in painting are as a graphic and as an early
Renaissance iconic element. Depending on the lighting, it "moves" the
image, pushes the colors into the background or raises the colors to the
surface, and it gives the image a "printing-machine" feeling.
The light of the image and the motif of the image are the
result of technical consideration. Brighter and darker colors unite the space
and at the same time divide it into - inside - where is the mute gazelle in the
shelter of a "safe home fireplace", while - outside – curious and possible
intruders in the incognito gloom of the city.
The silent ambience of the "closed" empty space is
more "natural and alive" than the gloomy and dazzling radiant city,
which hides its face in darkness - the climber sucked on the glass embodies the
permeation of the city and its hidden identity.
