Creative Methodology in the Exhibition Project «Ontology of Suspension»

As part of the «Ontology of Hanging» project, I worked on a series of sketches, exploring the expressive potential of composition, color, and painterly techniques. The main objective was to find visual solutions that convey a transitional state through the disruption of conventional perception of figure and space. During this process, I experimented with scale, rhythm, color contrast, the deformation of bodies, and various ways of interacting with the painted surface.

I explored various compositional solutions, experimenting with rhythms and large-scale contrasts between large and small objects. I sought a figure arrangement within the canvas format that would create the sensation of it extending beyond its boundaries.

The rhythmic organization of elements creates a strange theatrical effect, amplifying the sense of artificiality and instability of the unfolding events.

In my work with the color palette, I utilized lightness contrasts, juxtaposing colored and black-and-white fragments, and employing color inversion. These techniques allowed me to disrupt the conventional perception of the image, creating tension between the normal and the abnormal, the familiar and the alien.

In my new works, I have experimented with the distortion and deformation of the body, exploring the possibilities of disrupting the integrity of the human figure. Altering proportions, shifting contours, and the partial disappearance of form allowed me to convey a state of instability, transition, and the loss of familiar bodily boundaries.

In my work with the painted surface, I employed layering, glazing, and dry brushing to achieve the effect of partial image dissolution. Stencils and graphic techniques allowed me to introduce sharper, more expressive elements into the painting. The contrast between the dynamic graphic work and the soft, multi-layered painted texture creates tension between manifestation and disappearance, between presence and loss of form.

Ultimately, composition, color, deformation, and texture become tools for investigating an intermediate state. Through these elements, I seek ways to convey the moment when a figure loses its stability, familiar boundaries are violated, and the image exists in the space between appearing and disappearing.