Cappella

This series marked my transition from sculpture to painting—not merely as a change of medium, but as an expansion of formal plastic exploration. In «Cappella,» I have placed my sculptures within the space of the canvas for the first time, yet not with the intention of reproducing them. Rather, it is an attempt to rediscover their form through a different lens, where three-dimensional volume is translated onto a flat surface via color and texture. The visual language of the series was shaped by the influence of Marino Marini’s paintings—specifically his impasto style, where paint is applied thickly and roughly, in an almost sculptural manner. However, rather than copying his techniques, I use them as a point of departure. My paintings do not illustrate the «Cappella» sculptures; instead, they create a parallel world where form continues its existence in a different substance.

Thus, the series has become a laboratory for me: here, I investigate the boundaries between volume and flatness, between sculptural tangibility and pictorial optics. And while sculpture captures the final, definitive form, painting allows me to record the very process of its pursuit.