STATEMENT

I became an archaeologist long before I knew I would become an artist. Yet it wasn’t archaeology that shaped my artistic vision – both arise from the same impulse: a desire to understand the world layer by layer, down to its limits.

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Today I excavate within material itself – resin, glass, ink, paper, pastels or paint. Each layer carries traces, densities, fragments of time. Working through these sediments of the visible, I search for what cannot be named: a form, an echo, a fleeting state of innerness.

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My works unfold within a space that is not a depiction of reality,

but an inner, hybrid structure – both architectural and organic.

Lines do not merely define contours; they generate volume, tension, and spatial presence. Forms emerge through processes of layering, rising, drifting, and dissolution – as if they are simultaneously in the act of construction and collapse.

 

To me, my artistic process is almost like an inverted archaeology: not the uncovering of what has been, but a working back through what has already become, in order to find a new form of presence. I do not reconstruct the visible, but the invisible –working from the back to the front, through transparent and translucent layers, within a material that gains its depth only through reversal. It is as if I were thinking of time as not linear, but rather cyclical, sedimentary, and breathing.

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Perhaps each work begins only where seeing starts to question.

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M.P.