Having spent short time in Paris, I had a chance to continue the series "Age of the machines".  For me the city is the great live mechanism, that creates the honeycombs of human relations. The rhythm in which the information is disseminated nowadays, the way its means are evolving surprisingly fast and there is nowhere to hide from it. And as much as any information or thing had become accessible to everyone, each one of us has also become accessible.
However, to understand the state of the place and time it is necessary to feel its rhythm and feel the energy, that moves its people. For me is important to work instantly at the place, because the ideas get outdated whilst being incorporated and only through this process the next step can be seen. Being a graphic artist I work with the etching technique and now trying myself in lithography and analogue photography. I've always been drawn to the surprise of the first imprint. The expectation that many times does not match the reality. In a way it is a reflection of what I draw - not only mirrored, but also detached, like a view from the outside. Like an evaluation or a result of what I do or try to get across.

Age of the machines

  In my home city there is nowhere to hide from the visual advertising. And everything has repeated itself so many times that the eye does not even register anything anymore. We follow the same passes of the labyrinth. We feel confident only on a fraction of the way. We do not notice anything that is new out there. It is strange, because advertising and imagery are created to surprise and to interest us, but they mostly repulse us. May be, it is because of this, that when we arrive into the unfamiliar city, normally abroad, we are mostly drawn to an advertisement or a shopwindow, although the substance is the same, only the standard has changed. In our consciousness it is "outside the box" or "there is much to learn", but essentially "same old story".
  This is how my "Perfect disorder" series began. When I arrived in Prague, I was taking pictures of the advertisements ripped away from the boards. Some person, or may be many of them, could animate with his emotion a composition from separate advertisements, and I became interested in this collage. Its separate parts were balanced by incident and the rip off was emotional and resembled an intuitive desire to get away. It was a fruitless labour, destruction without intent. It resembled an arrangement of a common still life and I wanted to capture the beauty of this organized disorder. This mess had something familiar about it, like a handwriting of a person who "tidied it up", their footprint in time. Later, when I switched to posters, I understood, that I was doing the same thing - I was interested in the incidental composition from the contextually different objects. I wanted to unite them by one material and make different roles play one screenplay.

Perfect disorder

The artist creates new works for the long-term series “Household Surrealism” periodically and without a plan, and borrows scenarios from observations of his daily surroundings. His engravings are very detailed, almost photorealistic. But the long and difficult technical process that goes into making each print distances the artist from the initial impression of what was seen, and makes the final image tangibly detached from “the original.” The atmosphere created by the artist using graphical tools, in particular very dense strokes, is closest to the cinematic notion of “suspense”—the tense anticipation of something that can restore life to these suspiciously deserted and uncomfortable places
Art curator : Lizaveta German

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