Paintings are often before anything else, a black canvas filled with scattered energy of chaos – a rhythm of pure sign. In this sense, the membranes of the canvas become the meeting places of the inner and the outer, the meeting of the destructive and the creative..., and the space of the painting is understood as a changing substance. The forms that live in the space and tissue of the image are subsystems of a more complex model that function on their own, but also as a whole. As I see it, painting is a tool of thought and a research practice. If you think that there is an unusual code with which reality is written and through which we have an insight, then there must me some moments when there's a glitch in a reality. These moments are captured as artistic situations on canvas. This is the ultimate meeting of the destructive and creative and the painting is understood as a integrity of polarity within Unity.
The works are visual representations of recorded ideas about the decomposition of meaning about oneself and the cosmos as a single whole of enigmatic character and further the decomposition of the elusiveness of the interpretation of visual invocations within the space of the image or the question of self-reference in art. F.W.J. Schelling once claimed that „the only true organon is art“ so in the end the question arises as to how to „discover the truth of the being itself, and not to collapse the whole edifice of the Self in which that truth is contained, even if such a destructive venture ultimately produces the much desired self. Or, to use the well-known metaphor of the onion shell, what if by removing one shell at a time we reach nothingness, that is, madness, and realize that the layer of deposited lies/defenses is what ultimately formed our substance.” (Ž. Matijašević, A century of fragile self: Psychoanalysis, society, culture; Zagreb, 1996, p. 101)