A curiosity about what time and space can mean in relation to a human being plays a big role in everything I do. When talking about time and space, a movement becomes essential. For me, as movement can be considered everything from hiking, wandering around the academy, going back in one´s memories, as well as flipping through pages in a book. I engage a viewer by travelling together in time and space using the artwork as a way.
By creating time-demanding, utter site-specific artworks, hard to enjoy with a lack of time on the side of the viewer and hard to present with a lack of space in the gallery, I was recently exploring the limits of
sharing such a specific experience. What becomes important then is a memory – of mine, of a viewer, our common memory, or the one of the artefact itself.
Presentation and/of documentation remain here for me to be explored more deeply, as I am still on my way to find out the format that would fit my art practice the best.
I believe in power of a
detail. While creating a work, I like to concentrate on small things going usually unnoticed, as for me they do matter. To talk about mediums and materials, I try to stay open to what comes, even if I have to admit I have a special long-life passion for postcards and paper in general.
While creating an artwork, I put my whole self into the
process. Sometimes it is then difficult for me to let the work be seen by someone else, to let it become public. I struggle between a fear of being rejected and a necessity of sharing. I am happy everytime I succeed in crossing this border between private and public.
Despite the fact that a large amount of my art practice is based on my own experiences, I believe a viewer can feel connected, as in my opinion, there exists an universal core hidden behind the most personal
experiences. By using a term universal, I mean some base that we have all in common, so a viewer can be engaged in artwork using his or her empathy.
Even if it may seem that no one understands art nowadays, I truly believe in potential of art as a way of
communication. My hopes in positive power of visual language, when used in a proper way, are probably rooted in my graphic background.
As an artist coming from a former communist country, I have a kind of inbuild antipathy to political art or art engaged in politics as I am aware of how dangerous art serving political aims can be.
Being free and
independent is important for me as a person as well as an artist. I enjoy when I am able to create the whole artwork by myself. In contradiction with what has just been said, the other half part of my practice is based on contribution of the others during the different stages of my working process. As a great perfectionist, I find leaving some power and free space in my work for the others challenging as well as liberating, enriching and necessary for the both sides.
A special role in my art practice play my
family members. I believe there is a difference between art and life which needs to be saved, only then art can still influence, inspire life and other way around. By inviting people from outside the artworld during my process of creating, I can make shifts between these two worlds and let them learn from each other.

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