In the State of Bloom project, I turn to nature as a metaphor for an inner process: a budding flower, wind, light, the movement of leaves — these phenomena are not represented as objects, but rather as states conveyed through painterly gesture. The project abandons figurative language in favor of an intense plasticity of color, where each form is not so much a depiction as a trace of a momentary emotional impulse.
The works explore visual perception in a state of heightened sensitivity and accelerated disintegration. Layers of paint are organized as flowing, multi-dimensional streams that interact according to an organic rhythm.
Stable visual landmarks dissolve, giving way to a new system of coordinates — one where what matters is not the object itself, but the relationship to it; not the thing, but the vibration left by its presence.
This is painting as sensation, painting as experience, where color serves not a descriptive but an affective function. On a visual level, the works reveal a delicate interplay between chaos and structure. In one piece, thick turquoise and ochre strokes form an energetic field in which floral traces may be sensed — though they lose their literalness, transforming into autonomous elements governed by their own internal logic. In another, a pink-violet palette dominates, blurring spatial reference points and evoking the experience of memory or dream.
This method of intentional dissolution allows me to speak about the fragility of perception and the loss of clarity in favor of an empathic, bodily engagement with the image. State of Bloom thus becomes not an external event, but an internal phenomenon — a pulsation, a breakdown, and at the same time, an act of renewal.