Art Gallery

Ontologic painting media

Theoretically justifying and outlining the range of tasks that I set to realize in my paintings I faced the fact that actually my first paintings resembled the artworks of other artists. Understanding the dependence of content on form, I realized that if my paintings are similar in their form to those of other artists, then the ideas in them are expressed or repeated or very close to their ideas. Of course, this was a very tiresome process. Trying to find my form, I then sharply lowered the polychromy of the artworks to almost monochrome. I further introduced bronze and aluminum powders, so the main plastic content of the painting was blottesque of different sizes and shades. These experiments took more than two years, but it was not exactly what I was looking for.

And only in 1992 when I poured sand onto a canvas, my spirit told me: „yes, this is THAT”. And after a short time, I realized that oil paint is not the principal media to express the fundamental principles of being, because it best conveys the visible life in all its material nuances. To solve my problem, the primary materials proved to be more suitable. So, I started applying earth, sand, clay, finely grated shell limestone, graphite, and metal powders. Thanks to these materials, the color scale looked rather ascetic, which in my opinion corresponds to the asceticism of the spirit itself. I replaced the energy of color with the feeling of media experience.

Ontologic painting and oil paint

Ontologic paintings are not actually painted with oil and are not color and shades abundant. This happens for a simple but inevitable reason. The Ontologic Painting tries to convey spiritual sensations, and not the emotional experiences that cause contemplation of matter in its different manifestations. It can be a sunset, a landscape, or a beautiful lady. The Ontologic Painting should be away from all this because it all represents matter. We may usually associate a large green spot with grass, yellow with sun, what goes against the tasks set by the Ontologic Painting. The saturated greasy color of the oil paint gives not quite the sensations and experiences that I aim to convey. Even if I apply color, I try to do it in such a way that this spot, was first of all experienced and felt like a medium, not a color.

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