The precise lines, circles and mathematical figures evoke the feeling of technical drawings or blueprints. They seem to express geometric relationships, probably exploring some architectural or procedural concept. — “Relative Explanations” cycle. “Brown Cards” series. Brown paperboard, white chalk, white pencil, 15 × 21 cm. 2024.

Clusters of clouds and the tensions between them, sun glare and light dust flying in the air. The constant movement of units of the sky when observed for long periods of time can exhibit an ordered, mathematically calibrated structure. — “Relative Explanations” cycle. “Structures of the Sky: Clouds” series. Blue paperboard, white chalk, white pencil, mechanical cut-out, 21 × 9,7 cm. 2024

A series of drawings from a fragment of an endless blackboard, layers of someone’s ideas, stories and sequential systems are captured by the frame of the paper format, suggesting the lack of boundaries of the original blackboard. — “Relative Explanations” cycle. “Boards” series. 60 pieces. Black paperboard, white chalk, white pencil, 50 × 70 cm. 2019—Ongoing.

“Relative Explanations” cycle. “Pages” series. Black paperboard, white chalk, white pencil, 29,7 × 40 cm. 2022—Ongoing. — Individual sheets with drawings, silhouettes of parts of figures or unrecognizable objects imprinted on them as if faded in the sunlight. Random signatures on the sheets look as if they were arranged on the layout of the book, but on the other hand, they are enlarged fragments of chalkboards.

“Relative Explanations” cycle. “Signs” series, 2023. Black paperboard, white chalk, white pencil, machine-cut arrangements. Various sizes.

“Relative Explanations” cycle. “Signs” series, 2023. Black paperboard, white chalk, white pencil, machine-cut arrangements. Various sizes.

“Relative Explanations” cycle. “Pages” series. Black paperboard, white chalk, white pencil, 29,7 × 40 cm. 2022—Ongoing. — Individual sheets with drawings, silhouettes of parts of figures or unrecognizable objects imprinted on them as if faded in the sunlight. Random signatures on the sheets look as if they were arranged on the layout of the book, but on the other hand, they are enlarged fragments of chalkboards.

Black paperboard, white chalk, white pencil, 21 × 15 cm. 2021—Ongoing.

We tend to think the moment is almost invisible by the common human perception of time because of the tiny amount of space it’s taking on a timeline. Therefore, our culture is often split in half by the question: should we rely on the moment or not, if it’s that notably small? By combining the ‘Mapping of the Emptiness’ and ‘Relative Explanations’ methods, daily used in the Inner School of Open Studies, we can zoom in and freeze one random moment for a few days. Probably, it will allow us to make some assumptions about what is happening between of reaching and leaving the moment. — “Relative Explanations” cycle. “Total Timeline” series. 12 pieces. Black paperboard, white chalk, white gel ink, 50 × 70 cm. 2018.

A 12-page album devoted to the documentation and description of the individual parts of the wave, the dynamics of development, some patterns of directional change and fragility. The notes around the edges of the sheet make it difficult to make a thorough guess as to what specific type of wave this wave is, what you need to know about it, and how to treat it. — Black matte drawing pad, white gel ink, 29,7×42 cm. 2017.