In the twelve large canvases of cities, colour coded and accompanied by twelve pikes, he replicates an underused mode of cityspace painting and the scale of historical painting. Being declasse the paintings fictionality is immediately evident.
Consisently critical of representation the artist clearly loves his profession. Single compliments to its history, as simple as coding the images in primary and complimentary colours, the very basis of painterly illusion and achievements, or as complex as asserting the capacity to have critical effect on the viewer, indicate his free will to belong. The sheer multitude of photographs, drawings, paintings, the existence of a manuscript of a lengthy book illustrate his detemination. To a degree, his production so far, appears to be a negative mirror for western urban civilization, without condemation. But it is already more than that.
Dr. Slavka Sverakova, Honory Research Fellow, University of Ulster, Belfast, 1998