My practice is based on curiosity, melancholy and the desire for thought experiments. The main themes I work with are (self)knowledge, knowledge of the landscape and knowledge of the body, human-(in)commensurable and (a)temporality. In my projects, I raise questions about the possibility and ways of knowing, be it knowing a human, everyday things or works of art, natural, cultural or divine. I explore the relationship between living reality and its intellectual representation, as well as types of attitude to the world that arise in the process of naming, representing, classifying and archiving, mythologization and sacralization.
When creating projects, I work at the intersection of artistic search, philosophical research and the practice of self-hermeneutics. Often my projects receive an interdisciplinary dimension at the intersection of contemporary art and philosophy. In conceptualizing my works, I use philosophical optics: my projects are connected with the field of my academic research as a philosopher. In each project, I formulate questions of epistemology, ontology, axiology, philosophy of language, time, and art, in a special artistic form.
Each project is either a epistemic practice itself or its result. When creating the installation “The Exclusion of Objective Time”, I use a philosophical text as a practical guide to explore my inner consciousness of time and to bring out its structures in the form of spatial objects. In the graphic series of “figurative abstractions”, using automatic drawing, I capture forms in an inactive, “about-nothing” state of consciousness that, when superimposed on each other, reveal a state of “about-nothing-ness” as noise and fullness, instead of emptiness. In the work “Phaseolus vulgaris”, I offer my own classification and naming of unique specimens of common beans. In the project “Bark of Epimenides”, I try to see knowledge in the bark-skin of tree bodies — I use drawings to isolate meaningless, human-incommensurable signs in the bark and attempt to understand them through their transfer to my own skin with an applicator. In the video work “Glyph” I am engaged in automatic crawling in the field, drawing a geoglyph based on GPS coordinates, accessible only to the gaze of the GPS-God and thus gaining the right to its ghostly existence. In the series of “nonpotential routes” I take walks on the abstract surfaces of Google maps, substituting with them the real passage of the path in the landscape and yearning for the beauty of a forever gone moment of a satellite image.