something at the edge of figurative and abstract expression . The whole strategy for my many layered compositions is a slow growing process , which builds up with another moves . Open on new solutions coming on the way I can ’ t allow sticking to the original image I had in my head at the starting point . The whole creative process is an unplanned journey ; it would lose whole excitement spirit if I knew what is at the end of it . So how do I decide when to stop ? In many cases it can be a drastic solution like let ’ s say a deadline , other than that it ’ s hard for me to say if work is done , then I switch from my traditional approach and accept unfinished nature of my paintings . Of course it ’ s always matter of perception , some would say the work is perfectly finished as it is , something is missing or it ’ s overdone . At the end of the day it doesn ’ t matter if painting is perfect , incomplete or ruined , it ’ s a reflection of artist ’ s current emotional state of mind and that ’ s what count .
For this special edition of LandEscape we have selected The Second Return Of The Giant Hogweed and Fourth Wondrous Nightmare of Acclimatization , a couple of interesting works that our readers have already started to admire in the introductory pages of this article . What has at once captured our attention of your inquiry into the liminal area in which figurative and abstraction find an unexpected point of convergence is the way you provided the visual results of your analysis with autonomous aesthetics : when walking our readers through the genesis of