The 'Almost Nothing' Cycle

A raw canvas is divided into two parts. The smaller part remains untouched — its linen weave possesses a complete structure, proven by centuries of use. The larger part is filled with multiple layers of translucent gel, which carry no image. The colors merging into one another reflect only the interaction between the internal and the external.

Here, empty and full cease to be opposites: the empty canvas turns out to be full, as it is self-sufficient as a material, while the color-filled part is empty, because it only hints, without embodying. One is impossible without the other, and in this interdependence, an ancient understanding of emptiness emerges — not as an absence, but as a condition for the existence of fullness.

The "Kintsugi" Cycle

Chance becomes the first gesture in the work, manifested as an uncontrolled tear. This boundary serves as a starting point and sets the vector for all subsequent development.

The cycle explores different paths of healing. One side of the canvas is filled with layers of translucent gel, step by step acquiring optical depth. The palette is born in a dialogue with the lines of the tear — each one sets its own rhythm and its own shades.

The second side can follow the same principle, layering itself in parallel and entering into tonal consonance or resonance with the first. Or it can become a final gesture, where all the colors found in the process gather into a single mass and are poured onto the surface, forming a chaotic relief — a manifestation of the unconscious that defies control.

These two approaches coexist in the cycle, reminding us that healing is not a single path, but an encounter between order and chaos. The tear becomes both the reason for and the place where this dialogue emerges.