The impulse for the creation of these works was a question that was constantly recurring in my head, question with which I was confronted from the first moments when I began to be fascinated by the physical aspect of reality, the question about the essence of a sculpture as an intervention in space, what can we really change by changing the physical properties of a given place? How much determining behavior, thoughts, actions, or even the way of perceiving reality can be the environment of objects, items or solids surrounding us? 

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Each of us, as a human being, functions in the dimension of a continuous and unstoppable process of percepting the reality, in our mind constantly clash within and stimulate each other's two dominant stimuli: perception (understood as the reception of stimuli, the physical aspect of our presence in the world) and thoughts, our internal dialogue. This is the field of everyday consciousness in which thoughts are determined by perception, in such a context the sculpture can be interpreted as a disturbance of reality, an interference with the natural space and the environment. A given object, through its physical dimension, becomes a part of reality while being outside its logical, visual order, it becomes a new impulse, a kind of distortion for consciousness. My works are an attempt at building a new visual language, I try to avoid references to existing forms, parallels to the known world of solids in favor of creating and expanding my own and the recipient's visual awareness. 

 

The starting point for purely sculptural activities, for physical achievement of form, was the exploration of various fields of consciousness and passive states (including automatism) through which it was possible to discredit the real world and navigate within the surreal. It was, in a way, a reference to the critical-paranoid method. In order to achieve a similar kind of intense process, one must bring himself to an extreme mental disturbance, induce a purely paranoid thought, which in turn will lead to a mental crisis. This crisis will be the beginning of the creative path as a direct flow of dominant thought to creative activity. The new appearances created in this way will not only be an expression of the unconscious, but will also lead us into a specific state which, while remaining far from sensory phenomena, starts an interpretive madness. What makes the work not only an illustration of a mental construct, is not a visual confirmation of a predetermined idea, but a self-contained, individual and autonomous impulse for the viewer.  

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I try to do over-intellectual, purely imperative works, all words interpreting our actions will always remain secondary to the actions themselves. Instead, there is a field of deep awareness that we are unable to express verbally. The word as a way of communication and expression is something acquired and unnatural, it is an attempt to codify sensations that still function outside of logical consciousness, which is why it is so important for me to create a situational, imperative sculpture that will stimulate the viewer, at the same time broadening his horizons of perception. In many places of this text there are mental shortcuts, the fact itself emphasizes how intuitive and imperfect is verbal codification, the language of words, sometimes thousands of characters are needed to describe what becomes obvious and legible anyway in a split second in which we confront art. At that moment, feelings arise that are pure but often not reflected in the word, therefore their logical interpretation becomes difficult and sometimes impossible and ineffective. 

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Therefore, the works created using the method that I followed do not require any additional words or words. Each interpretation will be secondary and, at the same time, correct, but everything essential has been contained in this matter, in this piece of space transformed by me. 

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