The style, the way of painting, is three-layered.
At first impression
a basic monochrome image consists of three basic layers. On the "background" is placed a layer of
chromatically brighter colors of a wider spectrum. I keep the layer of vivid, contrasting colors in the tonal
scale and balance it with the whole, with the application of certain collors to
create the effect of dim light. I also soften the present contrasts with
"architecturally" immovable forms in the painting.
Golden elements create a somewhat early Renaissance iconic
effect, and through it, the image "moves" depending on the brightness
and the colors are either pushed into the background or dragged to the surface.
I overturn the perspective (upside-down pictures by the
pool) and distort it (stairs that are and are not, because I put them in, but
take away their function- when they are not going anywhere).
The motif of a futuristic city in twilight is the result of
the technical treatment of the painting.
In the "foreground" as a "memory of another
time" (a time of classical artistic values, a time of luxury of drinking
water…) is a kind of central attraction- a window with a swimming pool and
classic paintings. In the background, in the “apocalyptic light of the burned
planet,” are the ascetic box residences of people who will form a more
responsible civilization? Unsuitable stairs indicate a loss of sense of
functionality, of reality or the right direction of man?