Master of ceremonies
My use of certain images is based largely on the idea of "presence". "Presence," - albeit symbolic, has a powerful effect on the space and the sense of oneself in it. A simple example: imagine the dark bronze torso of some dubious leader of yesteryear in the square. Can you picture it? And now imagine a four-meter high figure of a little dog dressed in a flower on the same square. The impressions in these two essentially identical spaces will be cardinally different. So when you create a painting, you always have to think about "presence".
The feeling of "changed space" is not on the surface - like experiencing music. The emotion of music is always definite and conscious. But the feeling of this "presence" is more elusive, subconscious, background, it goes deeper. And it often determines one's worldview.
The mental image of the master of ceremony, setting the rhythm and intonation, the mood and seriousness, the meaning and order of the enigmatic natural mystery, inaudibly and picturesquely tactfully creates this profound "presence". It is up to the viewer or the one who decides to bring this "presence" into his space to determine the nature of this presence.)