Untitled, the paintings remain open — visual inquiries that resist being confined within fixed definitions. I see them as surfaces of exploration, the results of varying intensities of engagement with a single underlying concern: what defines art today, and what merely imitates its appearance?

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In the contemporary art context, where value is often measured through conceptual complexity, referential density, or ideological alignment, this question becomes both a provocation and a critical probe, challenging conventions that have lost their relevance. The series does not seek to provide an answer; instead, it unfolds as a visual, physical, and emotional journey, from rational construction to expressive release, from graphic discipline to gestural excess.

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The cycle is structured as a narrative of transformation. It begins with clean surfaces and clearly defined geometric structures that evoke clarity and calculated control. These initial works (paintings 1–3) reflect a logic of structure and intent. As the series progresses, geometry begins to dissolve, and organic, amorphous forms (paintings 4–10) emerge, with subtle figurative hints reminiscent of bodily or natural impulses. In some works, clear symbols and recognizable forms appear — signals that communicate, breaking through the abstract field with meaning. At this point, the tension between control and surrender takes on the quality of inner unrest.

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Toward the end, the paintings increasingly relinquish form, entering a domain of unfiltered emotion and raw expression. Stains, gestures, and spontaneous movement culminate in the final works (paintings 11–16), which can be read as manifestations of pure energy.

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This visual “evolution” sets up a confrontation between two poles of contemporary artistic practice: the sterile, often over-conceptualized art that rejects sensuality, and art that embraces emotion, expression, and imperfection. The series asks:
If all that remains is sensation — stripped of theoretical scaffolding — does it still have the right to be called art?

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These paintings form a dialogue between reason and instinct, construction and intuition, art and anti-art.