The conceptual framework of my artistic research encompasses an interdisciplinary and experimental approach to the body and corporeality. This research elaborates on the possible overflow of essences from object to subject and vice versa, the ability to distinguish and appropriate moral categories to subjective sensations. In this sense, the body can be seen as a correlation, as an attitude, accessed (only) outside itself, indefiniteness and unconventionality. This discourse unfolds around various states and aspects of the body’s “uncertainty”, the non-conventionality of the corporality. This approach, though very often in a concise form, can be traced in my artistic practice throughout the years.

Artistic experience can be provoked by a complex of perceptions and also a means (by itself) to achieve an artistic product – an introspective interpretation of complex sensory experience. Such aesthetic experiences could be described as a combination of subjective mental sedimentation of the experience of somatic origin. That somatosensory experience is an integral part of every creative process, visual, tactile, auditory and other extrospective perceptions and also introspective (visceral) experiences are integral to this somatosensory experience, respectively every artistic act is a function of the artist’s body is associated with bodily experience (introspective and extrospective). However, the persistent questions I keep asking myself are whether true and only artistic knowledge is not the image itself, and whether any attempt at verbalization, categorization and empathy can be defined as a (no more than) allegory of the prototype? 

In an artistic act, bodily experience is both a means and an outcome, the aspect of the bodily is inextricably linked to every aesthetic experience.