The most exciting thing for me is emotional communication through material and colour. This way of the transfer the sensations defeats the language. Colour matter becomes a new source of communication directly with the soul and heart of the viewer. The size of the work must be so large that the person can remain one with the pictorial field.
Thus, I began to think that through the colour my feelings and thoughts become material because I experience it as I experience any part of my body. In the same way, we convey information through the difference in colour on paper. Here I drew a parallel between two physical entities person and paper, where for both the colour is the beginning of emotional communication.
The moment I immerse a sheet of paper completely in paint, I use the very essence of the material. Here the paper becomes not only a carrier of information (for example, when we write on it with a pencil), but it forms the body of impression with its mater. It's like a book written on sheets of paper, on the plot of which the film was shot. Rethinking and reworking the plot, and transferring to a new space, but speaking all the same about the old one.
Something new is always a rethinking of the old or a mixture of all the previous. I can highlight the following important positive and negative inspirations.
For example, I took from Kazimir Malevich his interpretation of pure colour and form. I want to get away from the overloaded figurative image, cleanse the perception and bring it to a new level.
From Wassily Kandinsky, I take the desire to pass the world through the body with synaesthesia, to rethink, to leave the most important, to create own narrative language.
I take the passage of time from the works of Jackson Pollock, who captured the moving process of the human body through art materials.
From Joan Mitchell, I borrow reflection of a life with anguish, a sense of everything and a little more. Inner intuition.
From Richard Serra, I take the understanding of space and its transmission to the viewer. The bodily experience of a work of art while moving in or around work.
From Mark Rothko, I take the understanding of pure colour, concentration on small things through large, talking directly with the feelings of the viewer, and not with his eyes.
I do not take the artificiality of colour and its digitality from James Turrell.
I will not learn from Katharina Grosse an open, uncomplicated colour mixed with a lot of volumes.
At Zhuang Hong Yi, I will not even look at the endless flowers and superficiality of works.
It's pity that you can't see my three-dimensional colour field alive.
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