In this blog I will post some more work that I did immediately following my 5 year break from painting. It's not that I think this is some watershed period in the evolution of my art but it's a convenient way of structuring the database, as it were.
Having said that, I should admit that on the psychological level, starting to paint again and showing my work was a big event for me, something which is not entirely fortunate as it brings with it expectations. Put simply, I expect reactions. Not necessarily positive, although I like those especially (duh!). For me it's a little like being in a relationship - I'd rather have my partner shout and rage at me than have her sitting in the passenger seat next to me, looking out of the window in the cold silence of absolute detachment while I drive into the distance.
Reactions are costly. I do not understand why. Maybe because by reacting people are in a sense investing in you. In Hegelian terms, they are granting you recognition of sentience, something they would rather withhold. Like the Master. Or maybe it's something else. I do not know. What I know is that it irks me that people find it so bloody hard to say something. I worked for years at two schools of English, one in Malta and the other in Prague. In both schools I was something of a success with the students but it took my bosses years to come up to me and acknowledge it verbally. Why? Wherefore this reticence? What does it cost to let the other know you appreciate their efforts? I honestly do not understand.
Anyway, here's some more work - the period is roughly from 2011 to 2015.
And now for a few paintings:
Having said that, I should admit that on the psychological level, starting to paint again and showing my work was a big event for me, something which is not entirely fortunate as it brings with it expectations. Put simply, I expect reactions. Not necessarily positive, although I like those especially (duh!). For me it's a little like being in a relationship - I'd rather have my partner shout and rage at me than have her sitting in the passenger seat next to me, looking out of the window in the cold silence of absolute detachment while I drive into the distance.
Reactions are costly. I do not understand why. Maybe because by reacting people are in a sense investing in you. In Hegelian terms, they are granting you recognition of sentience, something they would rather withhold. Like the Master. Or maybe it's something else. I do not know. What I know is that it irks me that people find it so bloody hard to say something. I worked for years at two schools of English, one in Malta and the other in Prague. In both schools I was something of a success with the students but it took my bosses years to come up to me and acknowledge it verbally. Why? Wherefore this reticence? What does it cost to let the other know you appreciate their efforts? I honestly do not understand.
Anyway, here's some more work - the period is roughly from 2011 to 2015.
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| Halmet |
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| Symbiosis |
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| View from my flat in Mlada Boleslav |
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| Stepanka Park (with Milan and Lily) |
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| Pool |
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| Stairway to villa (Slovenia) |
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| Valletta Street |
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| Valletta Street |
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| Leaf |
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| Lichen |
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| Sparrow startled by its own image |
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| Perseus and the witches |
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| Portrait |
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| Die roll |
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| Medusa |
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| Fall |
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| Stepanka Park |
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| View from my flat on Komensky Namesti |
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| Stepanka Park |
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| Stepanka |
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| View from my flat on Komensky Namesti |
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| Church on Namesti Miru (Prague) |
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| Monument in Prague |
And now for a few paintings:
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| Albino killer |
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| Hare |
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| No More Room in Hell |
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| After Boticelli (Aphrodite) |
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