I can say that I am a digital artist over the last few years, during which I have systematically and dedicatedly worked on finalizing my sketches in digital format. My journey in visual art and graphic design began in 1986, during which I explored various painting, sculpture, and graphic techniques, using them both abstractly and figuratively. During that time I engaged in photography and extensively studied relevant theories, human anatomy, art history, and music theory.

Why digital? A profound understanding of technique and virtuosity I find essential for realizing exceptional creative work. With nearly three decades of experience in graphic design, I have a comprehensive understanding of the capabilities and limitations of graphic software (CAD sofware, digital painting, 2D vector programs…). However, my knowledge of classical painting and sculpting techniques is less extensive.

I aspire for my work to embody musicality, multilayeredness, and optimism. These qualities are not rigid goals but rather motivators – elements I hope to achieve in my creations. Each element carries its specific meaning.

By “musicality“, I refer to the harmony and wholeness that arise from the interplay of all elements in a piece. It evokes a sense of movement, emphasizing melody and rhythm over narrative. My work is not merely an interpretation of events; it seeks to emerge organically, culminating in a harmonious drama that balances tension and relaxation, both expressed and unexpressed.

The concept of multilayeredness, for me, in this context, primarily means the relationships and gradation of elements that create the possibility of seeing multiple images in one, thereby making the work a true object of surprise or exploration. Something that might draw the observer into itself so deeply that it begins to answer some long-held questions. That is something like my vision of the power of an artwork, which should still remain just a relaxed, unpretentious play.

Optimism simply means an attempt to give a person a sense of brightness and hope, moving it towards a state where a person will face the obstacles of their life more easily and effectively. It is up to me to try, without knowing if it is possible, to achieve that through a work of art.

My creative process often starts with small, rough sketches that resonate with significance and strength in the moment. In a state of consciousness where the control of the rational, chattering mind is diminished there are no constraints that typically stifle imagination, feeling and intuition. The finalization process involves utilizing vector software (2D or 3D), which enables large-scale reproduction and precise shape definition, making it ideal for sculpture creation. In this way, coincidence transforms into construction, Good feeling is materialising.

The artistic element that resonates with me the most is the line. I percieve it as a cutting path that defines objects within a collage or metal sculpture separating and uniting objects. At the same time I view the line as a body with its own character, emerging from proportions much like a musical chord.

Color is another profound passion of mine. While I do not consider myself a natural colorist, I approach color application with intentionality, developing my color system. My sketches may feature spontaneous colors from felt pens or collage papers, but the colors and combinations in the final work adapt to the developed color system.

The artists whose work impresses me the most I perceive as a kind of “classic”: Matisse, Arp, Picasso, Miró, Calder, Moholy-Nagy, Moore, to name a few. From time to time I find works from the distant past exceptionally interesting, such as Greek sculpture, cave paintings, or Baroque painting. Most importantly, I draw inspiration for my creations from music.