My diploma from two years ago (Everything What Is at Present And Why Is Quattrocento Seriously Contemporary, 2016) dealt with principles that connect artefacts of Italian Quattrocento with current painting trends. However, it was not just a formal parable but a relativization of time flow which I tried to create by removing the so called “airbag” between an image and a viewer. I interpreted principles of the Quattrocento from the perspective of the immediately contemporary. I was motivated to do so by my trip to Italy a year before and the impression it left that many early renaissance works are more up-to-date than modern works. I am interested in the parallels between the liberated atmosphere of that time and, for instance, the post-Gutenberg acceleration of the dissemination of subjects with the current formal liberation and super-acceleration of visual perception thanks to the internet. This basic motive, i.e. the polemic over the relationship of man to the flow of time, has stabilized in my thinking over the two years I have spent actively on the art scene. I believe that my distrust of human perception of history has been projected in my creative approach even before the diploma. Even the painting technique I use relativizes the benchmark of human life as our natural timer. Each little layer that I create by miniscule movements of the tiniest brush possible imitates the sediments of geologic processes. Even though this slow way painting did have a specific trigger, it became my natural language after all.