While working on my canvases in Paris I used to see a painting as a product of expression that refers to nothing but itself, free of storytelling and therefore free of misinterpretation. In my work the surface of canvas is painted and it is given ma¬terial and color. There is no illusion of space within the image, it is clearly two-dimensional. 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 predicted to be put in the human living space and to be communicated with on both intellectual and emotional level. The absence of planes helps perceiving my canvases as shallow box objects. I perceive my work as a surface designed object, with no drastic, direct intervention on its volume.
Moving back to Belgrade my work took on more of mythological and esoteric references as a source of inspiration. I concluded that my paintings were made by using by-products of already existing abstractions. Drawing ornamental schemes on canvas as a geometrical perceptive stimulus I drew my inspiration from experiments in perception psychology one of which is seen in: “Laws of Faith”, by Rüdiger Dahlke. Idea was that when confronted by a specific ornamental pattern, the spectator will project his/her own subconscious material onto the canvas actively participating in the creation process and add an archetypal or mythological value to the existing image.