ARTIST STATEMENT

In about 2005, in some of my works I deliberately started working with filtered information sources of various political and tragic events in the World. Personal experience of the events was not the major propelling force for me so much as media information with all its features and effects. Since for most people the media-transposed images and information represent the only link with dramatic events happening in far-off countries, one can even speak about image-based faith of the iconographic nature.*
I am focusing on the tensions between the dramatic events and their reporting through semantic and aesthetic condensation filter. Cold detachment, apathy and in sensitivity of media recipients is a result of the lossof actual reality – R (in our case ‘an event’) after it is processed by media in the noise and bustle of mediation process, somewhere between a suffering victim and an indifferent by stander.
News information material of various kinds (educational info graphics, texts, reports TV, satellite photos etc.) is the essential building block for my outputs to which I responded in different ways. As for “laboratory” recovery of events, the model-format response is naturally justifiable: therefore, creating my own event model is a kind of voodoo feedback sent to media as far asto their initial source. I see the shift from classical model-making craft to its freer version as a metaphor for the undermining hegemonic power. It is a violation of instruction manual rules brought in by building set producers that define what will be built, glued – created. Lately I began to combine models based on spectacular images from the media with relics from the hotspot areas, such as. hand-woven carpets from Afghanistan with war motives so as to arrive at the impossible intersection point at least symbolically – in the field of art at the same time in the same place.
* An inspiring study on the relationship between archaic imaging principles and current news reporting was made in the text by Kristin Marek Wa(h)re Objektivität. Bildpolitik im Fernsehen – Bildwissen durch Kunst. (In Kunst und Politik, Held J .: Kunst und Politik, V & R unipress, Göttingen, 2008 p. 133)