Synthesia is a condition of the brain that combines seemingly mismatched feelings in different ways. In this series, I look at the materiality of our built, alienated environment, thereby its tactility and social, urbanist differences.
The dystopian, frozen street scenes - where I highlight the monolithic buildings and the human figures that surround it - all take away from the nature of environmental portraiture thanks to color and tone play. Human figures lose their human, social role in their frozen state in these pictures. Some of the formatted parts of the picture come to light manually, some of them come with digital tools - in the process of this transfiguration. The buildings and the space are the canvas itself, which is colored and shaped according to the dynamic range of the given image, which in the end creates an isolated, aesthetic effect. This effect is reinforced by the use of metallic barite technology, as viewing the artwork from different angles produces different visuals and changes the sense of space in the image.
In both the “Urban Relations” and the “Synesthesia” series, I have a global perspective on the local phenomena of post-socialist visual culture. In my works, the rigid sight of artificial materials and the organic surfaces of natural substrates - even within a work - create contradictions, but they do not necessarily become disharmonic. The tension between the man-made artificial world and nature accompanies the works, which is amplified by the duality of digital and analogue technical solutions within the work.
