About

In painting, I feel a bit like a chameleon. My work is not about finding a single pigeonhole, but about the freedom to choose the right visual language for each theme. I enjoy experimenting and exploring how far the form can take me - whether a specific story demands precise realism, graphic brevity, or strict geometry.

My foundation lies in the classical painting tradition. I pride myself on technical integrity, the interplay of light and shadow, and compositional precision, which I honed for years under the guidance of Miroslav Pesch. Yet, this "old-master" drill is not a prison for me; it is a springboard. I use it to break reality down into pieces and rebuild it - this time by my own rules.

The keys to this assembly are the systems of origami and tangram. To me, these are not just decorative elements. They are tools with which I construct a world. I perceive origami as a symbol of the fragile transformation of a flat surface into space, while tangram represents an order where seven basic pieces must meet in a perfect touch to create a meaningful shape. In my paintings, these geometric systems clash with traditional motifs of landscape, figure, or still life, creating tension between illusion and construction.

I paint what I live and what moves me - from political themes and ecology to purely personal confessions, erotica, philosophical questions, or stories I overhear. For me, painting is a process of assembling "truth" from fragments of external perceptions and internal feelings. It is a space of absolute freedom where I can think about anything, and where no one can take away my imaginative visions.