Fear and beauty

Fear and beauty

I am a member of a 2.8 million year old species that calls itself: Homo sapiens sapiens. I am an individual on a 4.5 billion year old planet, somewhere deep in the approximately 13.7 billion year old universe.

I am the most important and at the same time completely unimportant.
For the universe I am nothing, for myself the entire universe.

Self as an entity, consciousness constructed by physical form and influenced by its overall physiological makeup.
Me as an individual, located here and at this moment, shaped by family and social background, life experiences and the time in which I exist.

I am the universe, a part of it, a temporary cluster of energy that I can manipulate. Using it to influence yourself, your surroundings, and thus the universe itself.


I am an individual. Existing now, alive in this moment.
Aware of one's self, one's presence and one's own mortality.




Awareness of one's own mortality

Not looking at humanity as a whole, each individual tries to find his own happiness.
In the sequence of events, which he can either completely or only to a small extent influence with his decisions, up to circumstances over which he has no influence at all.
I consider mortality to be key in human thinking. Although the awareness of one's own death is repressed for logical reasons in everyday life, it is a constantly present fact that accompanies us all the time.
Whether a person dedicates his life to faith, work, family, experiencing joy and pleasure, or wishes to leave something behind, it is precisely the constant presence of finitude that is the hidden spice of life.

A person mostly tries to fill his life with work, contribution to society, experiences, upbringing of offspring and ties with other people. He longs for love, recognition, knowledge, that is, for a fulfilling life.
In this process, whether successful, partially successful, or outright unsuccessful, he is the recipient of various feelings and experiences throughout his life.


I consider this very moment, when emotions enter a person, to be the moment when a person experiences life the most. It is thus the most alive and "most exists" for itself.
For these reasons, I focused on this moment in my paintings.



Kierkegaard came to the idea that we cannot fit the personal experience of our own life into any universally applicable system, and every human life, every human existence is highly individual.

Likewise, I consider every single situation in life to be individual. At a given moment, everything in the universe is as it is, but in just a small moment, countless things are completely different.

I capture only a single moment from this time in the picture. Negligible, random, and yet essential for the given individual, because at that moment he is alive, has self-awareness and proves his existence to himself.
Now I feel, so now I am.

Realizing that all moments are only once and can never be repeated in any way gives them a wonderful flavor.



Creative freedom and spontaneity

After years of experimenting with various art techniques (hand printing, taping, collage, spray techniques, oil painting, layering, etc.) and various art styles (graffiti, pop art, comics, abstract, landscape painting, expressionism, neo-expressionism, primitive art, figurative oil painting, etc. ) I quite naturally returned to the expressive, gestural form of painting and drawing.

Naturally, thematically following on from the previous work, I felt the need for completely free artistic expression. Without more complex artistic preparations and the search for a subject, I create in such a way that it is fun for me in the given situation and I enjoy the process of creation.

Creation in the studio is thus a place of free and spontaneous work, when nothing else matters, only the painting itself.


Artistically primitive, even childish expression I like to contrast with themes of mortality, the existence of life and transience.
I often depict figures, animals, bones and skulls in my works. At the same time, however, I sometimes balance on the edge of abstraction, when nothing on the canvas is forbidden and it is possible to break the 'rules'.


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The canvas is signed from the back.
Lacquered with non-yellowing varnish.