Prememory

“Prememory” began with a simple and quite specific intention: three trees placed on the horizon. I consciously established the colour range and the initial relationships between the colours, but I did not decide in advance where the painting should lead.

As the work progressed, the original motif began to disappear. I did not try to recover it or force the painting back towards the initial idea. Each subsequent decision followed without any significant hesitation, while the surface gradually began to organise itself according to its own logic.

The painting was created in a single pictorial layer. Its complexity does not result from the accumulation of successive images, but from work carried out within the same material surface: impasto, exposed canvas, incisions, vertical rhythms, arches and small marks.

From a distance, the painting remains a quiet, almost monochromatic field. Only with prolonged looking does the apparent record begin to organise itself. Among the incisions, pointed forms emerge that recall Gothic windows and stained glass, together with vertical architectural structures and horizontal sequences suggesting distant buildings and landscape.

These forms were not planned as representation. I recognised them only towards the end of the process and decided neither to strengthen nor erase them. They remain at the threshold of visibility — present enough to be discovered, but not explicit enough to close the painting within figurative representation.

“Prememory” does not depict a specific city or a specific memory. It is closer to the trace of something that seems familiar although the source of that familiarity cannot be identified.

Completed on 25 August 2026.

Artist’s collection — not for sale.