Artist Statement
When creating works, I use worn out, damaged and useless objects, broken furniture, remnants of car accidents, elements of building installations, discarded household appliances, etc., observing the consecutive stages of the gradually disintegrating post-industrial realities of late capitalism. I'm interested in the issue of the "troublesome legacy" of capitalist material culture, working on discarded and recycled elements that can be found on the streets of New York. I see crossing the boundaries of aesthetic dogma by using useless objects, devoid of their original functions, in my works as a form of critical commentary on current socio-political relations. My artworks take on a spatial character as well as objects situated in the genre of readymade art.
I assume that the production of artistic objects from purchased materials or created from scratch in order to achieve a purely aesthetic effect can no longer be justified because of the changes taking place around us, both economic and climatic. We live in a world of commodities, and artistic works, because of their aesthetic and material participation in the market, are also commodified forms. Through the use of found objects, I want to primarily highlight the existence of these fetishizing mechanisms, taking the opportunity to creatively comment on the current state of affairs in the reality of late capitalism.
The idea of unlimited growth that powers capitalism, forces a continuity between production and consumption on a scale never seen before in history. Former workers have become consumers sustaining this system at the end of a long automated production and delivery chain. As an artist, I notice these processes as well as the remnants, the material artifacts of goods abandoned in a hurry. By treating such items as art objects, I indicate a certain continuity in the process of redistribution of material goods. Such goods include works of art, without which today's highly nuanced art market would not exist, in which the historical evaluation of a work of art is often replaced by speculative elements related to the flow of capital.
