not even gods
are devoid of
The painting represents the sum of thinking about probabilities of random events occurrences, summed up in theories and arguments such as the law of large numbers, Boltzmann brain, infinite monkey theorem and similar. What they all basically say is that given enough time or chance any conceivable event can theoretically occur. This is a scientific approach to explaining how a pretty much ordered universe sporadically even sustaining life came about and god knows it’s had time!
On a micro level, this can be translated to Jung’s synchronicity, i.e. widely experienced meaningful coincidences, but meaningfulness is a tricky human term which cannot be externalized at will. Without the leap of faith, who’s to say we’re more than a random occurrence? To answer the conundrum in a jocular way – give it time!
I am aware this one could be easily compared to one of Damien Hirst’s pill paintings, however, I believe it is conceptually very different and it has a distinct narrative which makes it my own.
The painting speaks of love and understanding as the basis of a thriving relationship and scattered mama’s and daddy’s little helpers symbolize the totality of such prerequisites, here reduced to just two to further broaden the theme and to specify it at the same time – can love be chemically induced or at least sustained? I can think of a number of ways where it can. So, if yes, then is it any less true or real? Is the world any different or true to someone wearing eyeglasses? I believe not. So, the tricky part, as always, is to accept the human condition.
It takes a decisive moment to declare a painting done; a moment in which you feel that you’ve done your best and that from that moment you can make the painting only worse by continuing to work on it. This was even more true on this one since it visually doesn’t contain much. Yet it spoke to me so I decided to stop right there. I have to admit that it even involved some courage to stop since it all happened so unusually fast. Still, I remembered Picasso who said that a painting can never be done too fast, which is very true in it’s own sense.
So I signed it and that was that.
The painting represents infinitesimal odds at which what generally constitutes as miracles occur, such as life in the universe (excluding the creationism approach), i.e. every other event in which all its pre-requisites have aligned to make it possible.
Revisiting the idea of abstraction giving illusion of reality. In essence, all shapes on a painting are abstract, the difference is whether they try to describe reality or to abandon it. Here they try to be both, and as a result one can easily switch between abstraction and figuration.
The painting itself speaks of truths we hide from others and ourselves.
This one started out as the fall of Icarus consideration, but I decided to broaden its meaning. I am particularly satisfied with how it turned out – painting flowers, butterflies, puppies and, obviously, feathers is not something I am inclined to do. I tried not to paint it beautifully (as if this were a problem :)) and I think it is precisely this that differentiates the work from what would otherwise undoubtedly turn out to be a kitsch. It also accentuates the said brokenness.
A stylistic-conceptual blend between Out of the blue and Migration micro-series. The effect of massive work migrations will eventually hit the country’s head, and it will hit like a hammer. As with everything, the failure to acknowledge a problem and act upon it can only make it more severe.