Assemblages are very important part of my sculptural opus. They perfectly match my need to combine, to make changes and alterations, enhancements and detractions, to separate parts from a whole and place them somewhere else, in short, to do all sorts of reshuffling while enjoying it. Assemblages provide an ideal venue for my curiosity to roam and rummage, and feel good, freely and without reprisal. After all, this is what an artist actually dreams about and generally seeks. That is why I have always been attracted to the world of objects. In it, I found that particular visualness, produced by logic succumbed to function and which, connecting practical and useful, and helped by artist’s skilled hands, reveals a particular type of beauty that my hungry eyes have always been in search for. There exists a strict division of roles and a specific order among materials, shapes, suitability, and meaning in which my inclination towards obstruction and relativization of meaning finds plenty of resources and concrete solutions. In the search for new relations, the function is usually lost but not the memory of it whereas the meaning loses its stronghold. These unhindered junctures and all sorts of the pairing of objects, things and their parts, in such a game, in which everything seems probable, or rather nothing is forbidden, amazing discoveries emerge both on the aesthetic and semantic planes. To this new assembly, each part conveys its specific quality, some kind of form, colour, measure, function, story, its history. Similarly, the projection of our desires and needs takes into those objects our feelings and emotions, which additionally brings us closer to them but also disturbs us. Created as the result of carefully conceived design, they serve their purpose but in time they become worn out and start falling behind their purposefulness which the fate originally awarded them. However, I am interested in them as they are. I am aware of the danger and the risk of relying on the reflex of identifying visualness, and yielding to the intuition and one’s personal taste, but in this adventure the ration succumbs to the incidental, unexpected and inexplicable which is the nicest part of this job. Such procedures, in fact, reveal the very nature of the creative spirit whose potential to expose and materialize is given to strategies that we shall subsequently try to understand and explain. I am, of course, aware of the volatility and unpredictability of meaning. Lastly, the construction of the poetic narrative should not necessarily be burdened with the meaning, especially with one since the one does not even exist.
Finally, I take this opportunity to thank the free and relentlessly creative spirit which happened at particular moments here, before me. Luckily, I was present and that was a great pleasure which I wish to share with you.