Inks that I steer over paper create dozens of light semi-transparent layers of wild dynamic forms. This is my experiment of finding a balance between being in control of an artwork and letting the liquid media flow freely.

Flow started as an investigational journey of new techniques. It was the time when through my experimentation in various directions of contemporary visual art, I encountered astonishing visual effects of layers and translucency of ink over synthetic yupo paper. During the process, I restricted my colour vocabulary to Indian ink, which resembles in all works of this series as soft-edged abstractions.

In these works, the structure of layers becomes the main point of aesthetic merit. Ink and forgiving yupo paper allowed me to focus on the technique rather than on my brushstrokes. It enabled me to paint freely and permit myself to go with the flow. As a result, I managed to establish a style of my ink works that gave a distinct touch to the whole series, when I let the ink flow but at the same time I carefully controlled it with a hair dryer, creating peculiar silhouettes.

Even though the ideas of these works came off intuitively, the process of making them took a lot of planning and decision-making. Various graphic organic forms were carefully created and layered over each other bringing to light multiple depths of grays over the translucent satin surface. My technique became more methodological in using the hair dryer as well, when I’d catch the movement, change or reverse it, creating complex contours of light grays.

Being inspired by the shimmering translucent background of yupo paper led me to explore other media and dimensions. In the experimentation with silk and silk dyes, I finally found what I was looking for - the contrast of dynamic monochromatic compositions and the soft surface - authentic expression in a traditional medium.

In my search for lightness and movement, I continued exploring how I can make these stretched silk canvases become the opposite of stillness; how I can make them support the flow of the ink. This is when I started deconstructing the silk surfaces, leaning on the weaving process in the opposite way. Eventually, there was an installation of a painting on silk, when not the painting but only its impression was left imprinted into silk threads. This installation is a creative decomposition of itself that lets out the energy that’s been contained in the silk canvas through dynamic layered compositions of ink, casting shadows and creating new images on the walls around.

Reflected in the barely perceptible trembling of threads, an elusive motion of life, slowed down by the constant gravity. It’s a fleeting memory of the past, a promise of a better future, engaged with the moment.