My new cycle of works opens yet another chapter that deals with nature and flora not as a record but as a document that engages emotions on physical as well as mental levels.

Dark fields, black trees, thickets spread as a torn sheet exposing the hidden light and the background, hallucinatory trees and shadows, golden porcelain balls (that will not be exhibited) coated with pure gold, and balls with meticulously painted twigs.

Darkness as a substance provides the axis in this body of works. The horizon, the link between land and sky and the pale light that flickers like a pearl define the wide shadowy fields and the dark saturated sky above them.

A significant part of those works are the black fields (Cronos); heavy and charged, they linger as a black thick mist marking the horizon in the gallery space. The viewer moves from a black field to a green shadow, back to a dark tree and then to an endless thicket of green twigs through which glints an infinite space.

There are other works with bare sprigs on a dark background illuminated by the faint night light; they break up the dark space reaching to the bottom of darkness which is light (Sintra).

The dark, hallucinatory trees on a red background (Crimson) are far away in a red, hot atmosphere – the red, thick air wraps the lone tree that merges with the horizon of the heavy earth. The dark trees seem like stakes in the first light of dawn or the last light of day, or pines, dark with their thick and mysterious branches.

These works do not express the concrete, earthly plane of nature, but rather refer to mental imagery like the dark, weightless air that touches the heavy earth on a blurry horizon.

The blurred leaves and the almost hallucinatory branches become an allegory to the feelings of void and reality; together they reveal a fractal space free of cultural prescriptions. This reality is a fractal, a unique shape born again and again, eternally.