The more modern we become, the greater grows the gap between nature and us. We are about to lose contact, building ourselves a virtual world behind smooth and glossy screens. No frills, no unnecessary ornaments decorate the modern buildings we build and in which we spend our lives.

Geometrix explores the question: what happens when nature is forced into a grid? When does the original image, the original meaning get lost and transcend into a pattern? When will the floral, indivdual forms be seen as geometric shapes and the original motif recognizable only on a closer look? The works also show how our basically exciting, interesting lives degenerate into monotony when we always do the same thing – a tendency we readily indulge in for convenience, but which can cause dissatisfaction and a sense of living a boring life.

Geometrix uses photographs of flowers and blossoms as its starting material. In some works, the initial photos have been manipulated by blending multiple images together as well as some illustrations, which results in fascinating color geometries.

If you try to own what you love, chances are you are destroying it, from the very first moment you make it yours. From the flower you cut, to the man you want to be, the way you want him to be. True love sets free and does not possess.

Photography for me is capturing all that beauty and love out there and keep it forever mine: the moments, the stories they tell, the obvious and the hidden ones, the beautiful beauty and the ugly beauty. All done without even touching the original, without leaving traces of my presence.

Photography for me is also applying my own filters on the copy of the original, giving the image my accent, my emotion, telling the story through my own visual language.

In my photos I am again influenced by my love for rhythms and grids, patterns and colors of the urban environment and architecture I live in, as well as the lushness beauty of pure nature.

Although I see myself least as a photographer, photography is with me every day and takes up a large part of my working time. It allows me to easily connect with creativity, anytime and wherever I am. Capturing the beauty and the little and big wonders that surround me is a continuous invitation to walk through my life with open eyes.

I have always been passionate about printing. In fact, my painted images resemble prints and I am often asked, what kind of printing technique I use or how large the edition is. 

What fascinates me about manual screen printing as I do it in my studio, is that I can create works in editions. I can reproduce an idea as often as I want without much effort. On closer inspection, however, each work is a unique specimen. It is like the leaves of a tree, which at first glance all seem the same and have the same message. On closer inspection, however, there are no two identical leaves, each one is a unique piece, that is not perceived as such in the greater context.

Cyanotype involves coating paper with a solution of green ammonium iron citrate and potassium hexacyanidoferrate and then drying it. This makes the paper photosensitive. The desired motif is then placed on the paper as a negative and the whole is exposed to the sun for a few minutes. Afterwards, the paper is washed out with water and the motif appears in the characteristic blue tone called Berlin or Prussian Blue. It was actually this blue that draw my attention on these technique which is around since the middle of the 18th century. What further excites me about cyanotypes is the fact that it involves sunshine in the process and thus creates a connection with nature. The final achieved color tone depends on the exposure time, which itself depends on the strength of the sun and is influenced by the daytime and the season. 

In addition to independent works executed purely in cyanotype, I like to combine this technique with color overlays or realize parts of the motif in my painted images with cyanotype.