While working on my canvases in Paris I saw the art form of painting as a product of expression that refers to nothing but itself, free of storytelling, therefore free of misinterpretation. Paris is the great catalyst, a perfectly romantic theater stage. Everything that happens to us in Paris seems kitschy-cliché romantic. If you lose an umbrella there, just keep on singing in the rain. Jokingly, I gave these paintings picturesque names, although their abstract form opposes the desire for storytelling. Contrasting a name and an idea behind a form is one of the ways to accentuate painting`s intent and get the idea across.

As I saw it in my work, the surface of canvas was painted and it was given pigment/color. There is almost no illusion of the third dimension. The material of the canvas and the materials I put on the canvas, both become the skin or the clothing of a wooden stretcher and consequently an object. It is a visual, aesthetic object destined to be put in the human living space so we can interact with it on both intellectual and emotional level. The absence of the illusion of depth within my compositions helps with an understanding that my canvases are shallow box-objects.