People write on the walls of buildings, and city governments do their best to cover up the graffiti. As a general rule, city workers assigned to the task are often in a hurry to cover up markings before big holidays or other public events. They often fail to match the paint, and use a similar one, or whatever paint is available. Then, of course, hooligans write over the fresh paint. Now these new inscriptions also need painting over, but the color is different once again. The result is a constant battle between chaos and order, art and emasculation – a struggle that gives birth to images full of picturesque power and composition dynamics that unwittingly reference the work of great artists such as Rothko, Malevich, Pollack, and others.
This “unconscious art” is the artist’s definition of a process in which the participants do not think about art at all; they’re only goal is to do their job as quickly as possible. This documentary series of photographs proves that art exists regardless of human will and despite the surrounding circumstances.
No matter whether we want it or not, we are tied to the ground by the Earth gravity.
When walking, I look under my feet not to fall over, but it is not the only reason. Asphalt for me is also a map, and also a painting. The land surface carries not only footprints or tire tracks – it bears the trace of the civilization. The geometry of arrows, drains and cracks forms a perfect pattern which fascinates by its innate nature, asymmetry, irregularity. At some point, the ground we stand on now, will become another archeological layer, which will be hidden deeply in the depth of time. It hasn’t happened yet, and we can admire the graphic art of the surface on which we stand.
Buildings which need to be repaired or restored, are often covered with a special fabric, and they often continue to fall apart under the net. This camouflage makes a parade of the devastation like a veil, it creates a romantic crape. This bridal veil prepares buildings to a new life, to the transition into a different state…
When people hide from bad weather behind the glass, they feel allegedly protected. Transparency or semi-transparency of this material creates visual effects which do not need further finishing. People behind the glass are similar to mysterious fishes in an aquarium, and the real life floats by them. The glass, like a barrier, divides people into the observers and the observed ones. Depiction of such situations creates a genre of “observing the observer”
Plants, which have grown in a big city, in a hostile environment, almost without the sunlight, next to brick walls and fences... They adopted some characteristics of the urban people, but they are still able to perform photosynthesis. Their branches seem to support some architectural elements. A city landscape looks incomplete without their arch-shaped curves. Stems and leaves of city trees beg for protection, but at the same time they may provide shelter from rain or from heat. A city would have died without their patronage: their presence in the streets soothes the eye of an exhausted traveler. They look like mighty guards who are able to save one from the suppressing walls of the buildings.
Almost all big cities are overcrowded with vehicles. There is no place to park, cars stand close to each other, blocking up the architecture, invading the pavement, destroying flower beds…
It is unavoidable, however one can change own attitude to this phenomenon. Automimesis depicts cars blended with the city environment.