About Parnassus and Calvary

In the initial days of June, my exhibition, titled "Parnassus and Calvary", could be seen in Sammas Gallery. During the three preceding months, I made the selection among themes, deciding in favour of figure and composition.
Superficial examination indicates similarity with French symbolists - neoimpressionists. But the analogy is only external. Painting is a closed world that, relieved of the tyranny of perspective and illumination, has become the world of fairies, where nymphs and pans and the space around them is just marked. It helps to grasp the conditionality of our perception. There, where we believe to be massivity, we find transparency and, instead of heavy shadows, the light. In a certain phase the first perception bursts like a bubble. From that on, exceptions or beauty defects give the picture the charm of novelty.
Whitish, grey, feldspar shades suddenly take entirely other turn on Calvary, where heaven and earth are upside down. Smudgy pink and washy light green create a depressing tension, with the crucifiction group and the heavens cracked on the background of surrounding grotesque nonsense in the middle. Precisely seated line of the Mediterranean Sea as a very narrow subtle light green line to mark the clarity and unattainability of hopes. Then once again a close view of the Mediterranean in late autumn - gloomy, misty, but warm and reassuring - and between them Venus in the golden foam on pearl shell as a bow to previously lived geniuses, to Goya personally. Calvary and Parnassus - from wall to wall. A greeting to the most mysterious of all fruits. To the woman and to the youth.