Fire at the Clearing’s Edge
In this project, the artist reflects on states of liminality—on nostalgia for lived time and its finitude within physical space. He explores the fragility of memory and personal vulnerability, in a manner that is at once warm and unsettling.
In these works, the liminal state serves as a vanishing point where different timelines converge. The pieces presented are part of a series in which the exhibition’s title becomes a collective image, evoking a connection between generations, the unity of past and present, and the intersection of reality and fiction. Within the context of the project, these works illustrate the liminal state as both a part of collective memory and its vessel—a narrative fabric imprinted with personal and historical moments, as well as an evolving perception of reality.
The artist’s practice combines the traditions of classical icon painting with a contemporary visual language. The painterly technique, the generalized silhouettes, and the transparency of the color palette all refer back to the artist’s icon-painting roots.
The layered, repeatedly reworked images—created through collage techniques, transferring drawings onto canvas, and translating forms from digitally generated environments to the canvas surface—become part of a playful process, existing at the intersection of different materials and visual contrasts.
The project Fire at the Clearing’s Edge is conceived as an attempt to engage with the interplay of different timelines within collective and personal memory—an analysis of points of convergence and rupture, of the voids that connect across different parts of the project. The works employ a distinct visual language, featuring symbols that may appear across paintings, sculptures, ceramics, or text.
In these works, the liminal state serves as a vanishing point where different timelines converge. The pieces presented are part of a series in which the exhibition’s title becomes a collective image, evoking a connection between generations, the unity of past and present, and the intersection of reality and fiction. Within the context of the project, these works illustrate the liminal state as both a part of collective memory and its vessel—a narrative fabric imprinted with personal and historical moments, as well as an evolving perception of reality.
The artist’s practice combines the traditions of classical icon painting with a contemporary visual language. The painterly technique, the generalized silhouettes, and the transparency of the color palette all refer back to the artist’s icon-painting roots.
The layered, repeatedly reworked images—created through collage techniques, transferring drawings onto canvas, and translating forms from digitally generated environments to the canvas surface—become part of a playful process, existing at the intersection of different materials and visual contrasts.
The project Fire at the Clearing’s Edge is conceived as an attempt to engage with the interplay of different timelines within collective and personal memory—an analysis of points of convergence and rupture, of the voids that connect across different parts of the project. The works employ a distinct visual language, featuring symbols that may appear across paintings, sculptures, ceramics, or text.
In this project, the artist reflects on states of liminality—on nostalgia for lived time and its finitude within physical space. He explores the fragility of memory and personal vulnerability, in a manner that is at once warm and unsettling.
In these works, the liminal state serves as a vanishing point where different timelines converge. The pieces presented are part of a series in which the exhibition’s title becomes a collective image, evoking a connection between generations, the unity of past and present, and the intersection of reality and fiction. Within the context of the project, these works illustrate the liminal state as both a part of collective memory and its vessel—a narrative fabric imprinted with personal and historical moments, as well as an evolving perception of reality.
The artist’s practice combines the traditions of classical icon painting with a contemporary visual language. The painterly technique, the generalized silhouettes, and the transparency of the color palette all refer back to the artist’s icon-painting roots.
The layered, repeatedly reworked images—created through collage techniques, transferring drawings onto canvas, and translating forms from digitally generated environments to the canvas surface—become part of a playful process, existing at the intersection of different materials and visual contrasts.
The project Fire at the Clearing’s Edge is conceived as an attempt to engage with the interplay of different timelines within collective and personal memory—an analysis of points of convergence and rupture, of the voids that connect across different parts of the project. The works employ a distinct visual language, featuring symbols that may appear across paintings, sculptures, ceramics, or text.
In these works, the liminal state serves as a vanishing point where different timelines converge. The pieces presented are part of a series in which the exhibition’s title becomes a collective image, evoking a connection between generations, the unity of past and present, and the intersection of reality and fiction. Within the context of the project, these works illustrate the liminal state as both a part of collective memory and its vessel—a narrative fabric imprinted with personal and historical moments, as well as an evolving perception of reality.
The artist’s practice combines the traditions of classical icon painting with a contemporary visual language. The painterly technique, the generalized silhouettes, and the transparency of the color palette all refer back to the artist’s icon-painting roots.
The layered, repeatedly reworked images—created through collage techniques, transferring drawings onto canvas, and translating forms from digitally generated environments to the canvas surface—become part of a playful process, existing at the intersection of different materials and visual contrasts.
The project Fire at the Clearing’s Edge is conceived as an attempt to engage with the interplay of different timelines within collective and personal memory—an analysis of points of convergence and rupture, of the voids that connect across different parts of the project. The works employ a distinct visual language, featuring symbols that may appear across paintings, sculptures, ceramics, or text.
Fire at the Clearing’s Edge
