Screeans, NYC 1987-1989
Tridimensional panels placed in space, with dynamic geometrical compositions of pure forms and colours, some of which manifested open references to the painting of Kandinsky from the Bauhaus period and from his late Paris period, and also to the repertoire of forms from the heritage of Russian avant-garde. It appeared that these similarities were to be understood in the light of the methods of citation and repetition with differences, legitimately applied in the then postmodern artistic atmosphere, also supported by the artist’s striving to point out to his new living environment that he possessed and respected his own European artistic origin.