Inevitability of disaster, 2020
Pastel, Mixed media, Watercolour, Collage, Acrylic, Oil, Other, Tempera, Canvas
81 cm x 60 cm
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The inevitability of disaster, 2020, oil on canvas, 81 x 60 cm
The year 2020 has changed our lives all over the world. The COVID-19 pandemic, and with it a lot of human drama and doubt. Lonely and stressed, made even more weary by the new situation, we felt insecure. Constant waiting, postponing all plans and the great unknown of what the next day would bring. To top it all off, the constant thought in our heads of how to survive in times of chaos. The effects of social isolation have taken a toll on the mental health of many. Could it be that the cure turned out to be worse than the disease? In addition, the country's apparent political slip-ups and absurdities, which resulted in repeated public revolts and strikes, did not help to keep the peace. Everyone lived from day to day, waiting for a normal life. Still the future is in question. Will the same world order return as before the pandemic? For this we must wait a little longer, and currently cope with the present.
Aware of the limitations of travel, an idea was born in a painting solution in the studio. The series of abstract large-format paintings Red Beach is a representation of longing and memories of holidays in faraway destinations, distinguished by the uniqueness of the landscape with energetic colours. Drawing attention to the beauty, richness and variety of natural forms of the Italian coast or the Dubai desert areas. Nostalgia for normal, old life and the carefree nature of spontaneous travel decisions and numerous entertainments.
It was hot summer, so the studio rooms were also filled to the brim with heat. Loud oriental techno sounded in the background. All the canvases were on a colourful surface - the floor. Around them, I, running barefoot, poured paints onto the canvas with flair, glancing at the blue sky and the scorching sun creeping into the studio. It was something of a thoughtful improvisation (...).
The painting, with its distinctive texture, cracks and high impastos, is protected with gloss varnish. The work is signed on the reverse and does not require framing.
