The light andthe dark, a game of contrasts – this is what interests me most andwhat I primarily focus on. Equallyimportant is the space, in which these elements pervade and completeeach other, creating a kind of border-area. This moment when thelight is no longer a light and the black is not fully black – it iswhen these contrary, totally conflicting values exist not quite nextto each other, but rather together, coexisting.
Looking forthese values, aiming at picturing them, I focus on the simplest,lapidary forms that seem to work perfectly in abstractly modestarrangements.I do not refer to reach forms and shapes. I consciously eliminatecomplicated and complex structures, trying to conceive the componentsattractive to me in as simple form as possible, deprived of redundantelements that would disturb the silence. The printmaking technique Ihave chosen, the linocut, also helps me to reach this formalsimplicity. Thanks to it while extracting the white from the black,focusing on exploring it, eliminating colour, I have unlimitedpossibilities to create a configuration in which I am looking for thelight.
The finalstage of the creation, a printing, is always a reflection of workon a single matrix. The forms it includes, structurally arranged withraster or hatching - often by means of such tools as protheticsleeve, dental gouge or milling machine with a flexible shaft –take advantage of perpendicular lines crossing in horizontal,vertical or diagonal arrangement and build up a situation aroud amutual relation of forms and a dialogue between the light and itsabsence hidden inside them. A dialogue through which space inprintmaking is being born.