The center of my interest is the connection between human beings and the cosmos. I investigate the reflection of micro- and macro-cosmos in one another, the essence of energy and substance, the nature and functioning mechanisms of emotion and thought, the roles of transcendence and science and the relationship between the holistic and materialistic worldview. My creative work is closely related to my internal work of self-knowledge and spiritual journey. I use my own experiences as a catalyst in formulating and questioning universal human experiences. The raw instinct dictated by feelings and the distilled prudence of thoughts are complementary factors during the painting process. The fierce dynamics of heart-brain dialogue has led to the development of a picturesque language over the years in which the typical practice of abstract and figurative art cannot be distinguished: the conspicuous feature of collage-like spaces is the use of material, color and composition practices connected to different styles within a work of art. My canvases are dominated by the relationship between the backgrounds and the figure, complemented by expressive gestures, naturalistic details, blurry collages, wild composition cuts, paraphrases, mythological scenes, and symbols that deliberately causes the feeling of lack in the observer. Under the surface, the underlying hidden motif of the works is to show the floating, permeable, dynamic quality and underground interconnection of the spatial and temporal situations of the world. About the theoretical inspiration and foundation of the work The seek after an ultimate truth led me to be concerned with the idea of the 4th dimension. In the beginning I thought about it as an exterior place; a parallel superior universe, where one could physically go to, let’s say, through a wormhole. Soon I had a clear vision about how I would experience the 4th dimension: I imagined it as if everything would have happened at the same time: in a certain point of space, the forms have ever existed, the ones are existing right now, and those would ever exist in the future are all presented. They transparently overlap and percolate through one another. From that point, I neither called it the 4th dimension, nor thought of it as a place anymore, but regarded it as a state of mind. A way of experiencing things. That they are in a constant flow. How could I make sure of this flow is closer to the nature of reality than the static scene what we physically and day by day experience and interpret as ’real world’ ? In which form had the atoms of the chair I’m sitting on existed a billion years ago? Where will the atoms of my body be and how will they look like two eons from now? What happened throughout the previous centuries on that very point of space where I brush my teeth every morning? These train of thoughts were running paralel with my ongoing absorption into Vajrayana buddhist teachings and a profound meditation practice called ngöndro. While sitting on a cushion on a daily basis, I experienced that my thoughts and feeling are as subjucted to a constant change, such as any outer phenomena. Later on, having met theories of 20th century physicist David Bohm about the ultimate nature of physical reality has further deepened my interest. Bohm says that „the ultimate nature of physical reality is not a collection of separate objects (as it appears to us), but rather it is an undivided whole that is in perpetual dynamic flux.” Bohm also mentions that „the ability to perceive or think differently is more important than the knowledge gained”. The underlying motif which filters through all my canvases is the permeable, floating and dynamic quality of the spatial and temporal states of the world of which parts are interconnected on several levels. It is not a theme or concept in itself, but my overall approach to life. It remains silent behind the scenes I’m painting, but is always present. It works as a subsurface mental attitude when dealing with any topic I am drawn to. I take great pleasure in applying several layers of paint, or handling the figures, objects and spaces in different manner; what I regard as a visual metaphor to our endless layers of thoughts and interpreations which are embedded in even the simplest situation we are faced with.