In my practice, three things are crucial for me:
Globally, I see an artist as a guide of the potential, as someone who preserves in the society the very function of fantasizing, the ability to suddenly create something out of nothing — as well as to rebuild, rework, redefine or mystify. In dystopias, even the process of fantasizing is always prohibited and punished. Although it is exactly fantasy, irrationality and futility of our actions that distinguish us from the rest of the animal kingdom. It seems like an artist is the one constantly asking “why not?” — so why not indeed!
In my projects, I try to find an implicit contradiction which is hidden — and expose it. From my viewpoint, this is a major power of art. It’s like something that always existed but never been noticed: when you finally notice it, you inevitably start seeing it everywhere.
At the same time, it is good when something remains hidden, when the viewer does not immediately get what he is dealing with. A work of art that “opens up” quickly and easily becomes too superficial and sometimes even “vulgar”. The ambiguity and the strangeness, on the contrary, provokes some research. In my works I always try to leave something extra to what is seen.