ARTIST STATEMENT

I had always been mesmerized by the idea of the 4th dimension. First I thought that the 4th dimension is a place; a paralell superioir universe, that is somewhere else; one could phisically go there.  Once I had a vision, about how I would experience the 4th dimension: I imagined it as if everything happened at the same time: in a certain point of space, the forms have ever existed, the ones are existing right now, and those would ever exist in the future are all presented, transparently overlapping, running into and percolating through one another. It was not a place anymore, but a state of mind. A way of experiencing things. That they are in a constant flow. And I was sure, this flow must be closer to the nature of reality than the static scene what we physically experience hence interpret as ’real world’. In which form had the atoms of the chair I’m sitting on existed a billion year ago and where and what will they be two eons from now? This train of though was running paralel with my absorption into vajrayana buddhist practice.

On the way, having met the idea of 20th century physicist David Bohm about the ultimate nature of physical reality was a highly positive feedback; he says „the ultimate nature of physical reality is not a collection of separate objects (as it appears to us), but rather it is an undivided whole that is in perpetual dynamic flux. The ability to perceive or think differently is more important than the knowledge gained.”

The underlying base motif which filters through all my canvases is the permeable, floating and dynamic quality of  the spatial and temporal states of the world, of which parts are interconnected on a deeper level. I do not consider this as a theme or concept, but an approach to reality. It remains silent, but is always present. It works as an underlying mental attitude when dealing with the actual questions I am interested in.  The different paint-layers and differently painted objects in the space are equal to different reality-layers without being limited by past, present or future. Art historical fragments can appear next to present object and imagined landscapes simply because on the ultimate level everything is interconnected, like a hologram.