I cannot give an analytical comment on the three sculptures I am presenting by providing well-grounded stages or a concept. I cannot do it because I allowed myself the luxury to experience their coming into life emotionally (a rather old-fashioned extravagance for the end of 20th century) and sometimes I intuitively solved problems, which I encountered in the process of work.
While speaking about emotions, let me start by saying that two doors and a window are not just random objects with me. The doors and the window, which my parents, their parents have kept wide open for friends and strangers, which I have sometimes locked tightly. These objects - I wonder whether they suffer forgotten and unnecessary. This is probably no mere sentimentality, a memory, but also my recognition for their right to live a bit longer.
The paintings made at the beginning turned out to be useless. My wish was to convey the mood from a place - deserted and sunk into timelessness. Or maybe I made these works of art, in order to juxtapose the geometry of the door and window against the expressiveness of the colourful spots in tapestry, the even surface of the texture and the plasticity of the capacity. The door and windows already deprived of their function acquire a new one - they frame the textile texture or the landscapes as I conditionally called them. Now, that I felt as a viewer of my own works, I think I created them, in order to find out the tolerability of the two materials.
When I was musing on how to name my works, I always ended up with the option to say only "Let them speak for themselves". Banal and trite, but true. To comment on my own works is to a great extent meaningless. Exhibited in front of you, they already acquire meanings and purpose, new and different from the one that have moved me.
I hope this is so, because it will be one of the things to qualify them not as a mere diploma work, but as works of art which have started to live a new life of their own.