Impressionists eluded the problem of time by intensifying the visual impact of the moment. For them the quick and simultaneous approach to perception were a solution for an optical unity of painting. This concept developed after the artists had left their studios for the outdoors and became preoccupied with the sunlight and the play of shades, "Plein air" painting came into it's own. However, since the light outdoors constantly changes, attention of the painters became riveted on capturing the ever-elusive moment.

Claude Monet, however, in order to capture the changes of light with the passing time, came up with a novel idea: he created different canvases of the same, simple subject for the series "Haystacks" each one, however, was painted in a different light and season, using a variety of colors he created a spectrum of moods, what I refer to in my own artwork as "Moments of light and color".

Even though the Impressionists must be credited with enriching the palette, the priority of moment over the time element in painting has deprived their art the dynamism inherent to succesfully complex compositions and, subsequently, the depth and profundity of their work's aesthetic impact suffered.

Both Pablo Picasso and Georges Braque realized that the concept of "moment" led to a presentation of form in its illusory and not descriptive aspect. In their search for new avenues, they began to fragment the form, showing it from various persrectives in order to reveal its essence. A "Cubist" movement was born, painting based on linear dynamics and geometry. However, in its growth Cubism developed a flaw, it lost light and then followed a loss of color as well. Color became something relative.

Events of the following decades left artists of the 20th century to look for their own individual solutions to controversies inherent in the fine arts. There were no ready answers handed down to them by the past.

Searching for my own means of expression, I began to transpose my pictorial images to memory, where actual sequence of events tends to become cloudy yet leaves an emotional imprint. In memory the passage of time is translated into an alternating sequence of images. Combining these images into a composition, I create canvases, which present simultaneously several points in time. However, my method differs from the devices common to the Renaissance inasmuch as I do not try to show alternating actions, but am concerned with the effect of alternating moments of light, harmoniously orchestrated in a composition and producing a "chord." By drawing on memory as a creative source, I achieve a visual perception based on imagination, which is different from what is seen in reality. Here objects, whose "whole" is form and color fused into one, acquire a life of their own. This way I achieve a transposition of images inspired by reality into the sphere of theoretical approach and my paintings can be viewed both as abstract and realistic.

The work begins with realistic, impressionistic sketches from nature, which undergo a process of abstraction. Objects are faceted into planes and I begin to search for multiple relationships between light and color. The next step is when I begin to use the sketches as color melodies," combining them into harmonious composition which seeks, as much as possible, to become reality.