When I apply spray paint to a prepared field inside a stencil, I refuse to subjectively see the form and limit the possibilities for further evaluation of my image in advance. After all, the given outline hides my skill or lack thereof. The essence of the message becomes more important than visual aesthetics. The tool, which embodies frames and restrictions, becomes a means of liberation.

These stencils are based on still lifes of my father, who, unlike me, has an academic art education. I transferred the images to a structure representing a fragment of conventional space. The “stationarity” of the structure made the applied images less vulnerable and more resistant to the consequences of evaluative judgments.