Art is a state of mind. An intense perception of Being in confrontation with Nothingness.
Art in it's essence is internal, but it can't be communicative without getting external, that't the main paradox. Thus, the arbitrary level of art lies on bodily horizons where the internalities of both the art-makers and the art-percievers can meet – on the level of phenomena, where art as a communicational totality will phenomenally be born.
For me, no means to create such communicational totality are better than other, thus my art is interdisciplinary. When necessary, I use words, when necessary I use sound, light, action, fire, water, iron, or whatever. Artefacts as such are needed, but not always: in my performative actions I have discluded artwork as such, letting the artistic totality to be created in immediate interaction between an author and the audience, Here and Now. The recorded documentaries of those actions are smth quite different from those actions themselves. However, painting has always been a very special area for me, mostly because its adorability as an entirely individual process. A Homely Nest into which I have an urge to get myself inwoven, but the inside of which from time to time I like to show to the audience as to the Visitors.
The most important muse for me, however, is Music; the musical phenomena have always been the ones, with which I compare all the others. "There ain´t no woman who comes close to you, babe..." (Mick Jagger, "Angie"). For a long time, She was unobtainable for me, because of my limited abilities. But lately, I have started to release records even as a singer...
The main essential axis of my artistic production can be called "quasi-philosophical", or even "quasi-religious". I treat all the religions, different philosophical trends and also the pop-culture as tool-boxes for more or less an irrational kind of cognition – to overcome the rational ways of percieving the world, the ways into which I don´t believe. Contradictionary situations, ideas and feelings are my favourable material, to obtain the artistic truth, which, according to my understandings, always is paradoxical. I am a zen-believer, not being speciphically devoted to zen either, of course.
And finally: to my mind, without the ability of dealing critically with the time in which the art is made, the art would fail. Consciously or less consciusly, I have always dealt with my time, and during the period of my living, the time has changed a lot.