I am an artist.To make my art I need perceptual information.There are two ways: insight (which is actually possible anywhere) and changing of surroundings. Being by nature an avid traveler I decided to dedicate my site to this theme. The journey in the site starts in around 1996. In real nonvirtual life I have been in many other places.

Artist's statement:
We constantly experience input of information in our minds. This may not necessarily be formed into conscious knowledge. Rather it is unformatted environmental impingements, all exposure to the elements and resulting psychical and physical changes from this. Traveling in different places and changing environments enhances this input. You just have to be attentive to details, fleeting occurrences. Tales, folklore, other media events and old myths can all be helpfull. Insight, as well as providing an immeasurable source of information, consolidates everything together . My task as an artist is to put these data on paper or onto whatever material I am working with at the moment. Diverse mediums such as: printmaking, stage design for concert dance, performance art, installation, photography bond me as a creator with art. The human body has always been a central interest to artists. Movement adds a new dimension to the human personality. This is why both in photography and performance art my subjects often are movement of the human body and dance. Though sometimes vestigial human presence in surrounding ambiance is enough. I do not look purposefully for materials for my works, though often ponder on a subject for a long time. Materials are often found by themselves, unintentionally. This is why in my printmaking I favor so much collagraph, where I can incorporate natural, discarded and found objects which leave on paper bas-relief-like palpable indentations. Unpremeditated freely flowing lines, unexpected patterns are the rewards. I am fascinated with cloth for the same reason: creating spontaneous results with its folds and creases. These techniques and the desire to be more precise in my work determine my way of usually working immediately, in situ, or site-specifically. That is to say, in a general environment, and not directly in nature as impressionists or Russian peredvizhniks did. Sometimes I finish pieces later but if too much time has passed I feel it very difficult to find the mood again. I certainly have artistic influences, some good and some bad, retarding ones, but I favor abandonment as far as possible to the local idiom, at whatever place I am at the time.