I showed tutor PL the last two works / experiments I did as in drawing on music.
He told me that “those are something different” and he noticed how the energy and mark-making are sustained throughout the pieces. He noticed also depth, width, the human element of the marks. We discussed synesthesia and my “feeling” some of the words by means of pitches and noises in my head (tinned tuna to me is a squeaking noise in my gums).
We talked Pollock and de Kooning, Europe and the USA; and of course, performance drawing adding hints of Surrealism and Abstract Expressionism.
The best feedback that anyone could give me about my work is that is it “intellectual”; my work is not easily understandable, I do not spoon-feed the viewer in a childish way, it is not readily available, and PL said: rightly so. And I fully agree with him.
I think that in as much you can see the 21st Century in my drawings, I can also recognise old Europe in my pieces. It can be just a vibe, maybe the memory of the music I listened to while I was making them, or my personal visual and sensorial memories of a September morning cycling in Paris, or drinking tea in Graz, or eating a bitter salad in Vienna, drinking a beer in Brno, or a motorbike ride in Croatia.
Because this is who I am, and this is what I make.