At the beginning of my artistic path, I painted and drew on paper. They were very spontaneous pictures, depicting organic forms that were a record of the internal state. The next phase was the rejection of spontaneity and the transition to the conscious building of the picture based on the geometric construction. I became interested in unique fabric and installation. I began to attach more importance to the motives of my actions as well as to the idea which over time completely overwhelmed me. Wood became my favorite material, it forced me to work so hard, monotonous that working on each new object was also meditation. A felled tree is subject to gradual decay. Stopping this disintegration for a "moment", I divide them into pieces from previous years and combine them in a completely different context. I am aware of uniqueness, uniqueness and passing. Every single element was extracted by me from the inside of the trunk using simple tools. I use birch trunks that are at least several years old since the tree was felled. During this time, each trunk is exposed to the sun, moisture, frost, and wind. Under the influence of the sun, photochemical reactions take place at the ends of the trunks. This has the effect of darkening and tinting the ends of each element. In this light wood, delicate blues, greens, yellows, and reds shimmer.

艺术之路之初我在纸上作画，它们是非常自发的涂鸦，描绘的是有机的形式，是我内心状态的记录。我艺术创作的下一个阶段是则是对自发性的拒绝，并在几何结构的基础上开始有意识地建构。我开始对独特的面料和装置感兴趣，并开始更加重视艺术创作的动机。木头成了我最喜欢的材料，它迫使我努力又单调地工作，以至于在每一个新的物体上创作变成为一种美妙的冥想过程。

倒下的树会逐渐腐烂，为了让这种状态停止，我将它们从前几年的环境中分离出来，并将它们组合在一个完全不同的环境中。我意识到这种唯一性和消逝性。我创作的每一种材料都是我用简单的工具从树干内部提取出来的。我使用的桦树树干至少有几年的历史。每棵树干都曾暴露在阳光、湿气、霜冻和风下。在阳光的作用下，树干的末端会发生光化学反应，以致材料末端产生加深和着色的效果。因此在这种浅色木材上精致的蓝色、绿色、黄色和红色如光芒般跃入观者眼中。

TRANSFORMATION

转换

In the "Transformation" object I presented a vision of my own tree, from which openwork "sheets" unwind, as if the writing of a tree. Two are real and the third is a shadow that is and is not there at the same time. The essence of this work is the gradual transformation of the organic form into a geometric one. This transition is clearly visible on the unwinding sheets. However, it is impossible to grasp the point at which this transformation takes place. In my actions, I look for boundaries, tensions at the edges, I am interested in opposing concepts: interior / exterior, chaos / order, nature / geometry, etc.
In painting, color and light are important to me, but not like the tensions that appear at the plane boundaries. I don't paint lines, stripes, triangles, squares, I don't paint landscapes. I paint the boundaries because that is the crux of the matter. I am interested in the parergon that Kant dealt with. I am also close to Jaques Derrida's philosophical reflections on this subject, his dialogue with Kant's views, and his deconstructive theories about art. I must admit that the contact with Derrida's deliberations on the border, parergon and opposition theory became an inspiration for my work.

在“转换”这个作品中，我展示了我自己对树的臆想，它如一个展开的开放式“工作表”，就像在书写一棵树的历史一样。其中两个部分是真实的，第三个部分是一个影子，它同时存在又不存在。这幅作品的本质是有机形态向几何形态的逐渐转变。这种转变在展开片上是清晰可见的。然而，我们又不可能把握这种转变发生的时间点。在创作中，我寻找边界、边缘的张力，我特别对对立的概念感兴趣:如内部/外部，混乱/秩序，自然/几何等。

在绘画中，颜色和光线对我来说很重要，但它们缺少平面上的张力。我不画线条、条纹、三角形、正方形，我不画风景画。我画出界限，因为这是问题的关键。我感兴趣的是康德“附属物”概念。我也很倾向德里达关于这个主题的哲学思考，以及他与康德观点的对话，和他关于艺术的解构主义理论。我必须承认，与德里达关于边界、附属物和反对派理论的讨论成为我艺术创作的灵感来源。

TREE OF LIFE

生命之树