According to Arthur C. Danto and his essay The End of Art, I can only be a post-historical artist, falling out of the narrative of art. So I decided to cover canvases in this series with layers of history of art. Instead of “being an abstractionist in the morning, a photorealist in the afternoon, a minimal minimalist in the evening”, I am all of it in one painting. While the first layer - a word in black painted on a white canvas - is not dry yet, I start painting next - monochrome - layer, which, instead of concealing, begins to interact with the first one. One word is not one word anymore, and the monochrome layer is not monochrome anymore. Next layer - structure paste shapes and/or photo prints from previous project corpus - cuts openings in both previous layers, and the last layer - diluted paint from the second layer - lends a final glaze, completing it. Those painting have no names. Naming them according to one of the layers would label them to a specific historic style. Without a name, they are open for all of them. It is left to a viewer to decide, if I have borrowed layers from Yves Klein, Ad Reinhardt, Robert Rauschenberg, John Baldessari or any other artist from the narrative of art.
1 Arthur C. Danto, The Philosophical Disenfranchisement of Art (New York: Columbia University Press, 1986), 1.