Q: The eyes in your portraits always possess a very specific presence – both mystical and melancholic. Do you intentionally seek this effect?
A: To be honest, it is not a conscious decision. It is something that happens almost beyond my control. When I stand before the paper, this “language” simply begins to flow through me. I believe every artist has a “soul signature,” and mine clearly lies in those eyes that seem to look right through the viewer. It is not sadness, but rather a quiet, enriching energy – a space where the invisible becomes visible.
Q: What do you feel in the actual moment of painting?
A: For me, it is a state of total presence. I love observing how the “creator” within me interacts with the creation at every single moment. Often, I start with one idea, and something completely different emerges – usually more charming and surpassing my own expectations. It is a process of constant discovery where I am as much a witness as I am a maker.
Q: Why do you choose such strong contrast – almost a transition from total darkness to vivid light?
A: Contrast is my favorite tool. To me, it is a metaphor for life itself and the dualistic world we inhabit. Light cannot be truly understood without the shadow. By using this dramatic chiaroscuro on a small scale, like the A5 format, I try to concentrate the emotion, making it feel tangible, almost sculptural.
Q: How do you know when a painting is finished?
A: There is a specific moment of satisfaction that is almost physical. The painting seems to speak to me, saying: “I exist now; I have my own space, and I mean something.” They are like children to me – each with its own unique charm and character. The moment I hear that internal “I am here,” I know it is time to put down the brush.
Q: Your art feels very intimate. What are you trying to prove to the world through it?
A: I don’t want to prove anything. I am far from the idea of competing or trying to convince anyone of something. For me, painting is food for the soul. In a world that often prefers fast pleasures, I choose to create a space for reflection and communication on the level of a “sixth sense.” If someone finds a piece of themselves in that gaze, then the connection has been made.
Q: What would you like someone to feel when they first meet the gaze of one of your portraits?
A: I would like them to feel warmth and that specific sense of fulfillment I feel while creating. I don’t look for shock or provocation. I want my paintings to be a “quiet harbor” – a place where the viewer can stop, look deep, and perhaps discover a forgotten feeling of their own that has been waiting to be validated without words.
