Insomnia X — "Insomnia" Series (2005)
Year
2005
Dimensions
90 Х 90 см
Materials
oil on canvas
Medium
Painting
Series
INSOMNIA
Price
$2000
Shipping cost depends on location
90 × 90 cm
Insomnia X is one of the most restrained and nearly colourless states within the series. After the emotional and chromatic intensity of the other paintings, what remains here is an almost monochromatic space of white, grey, and black, through which occasional warm ochre fragments emerge.
The composition is formed through layered planes, brushstrokes, erasures, and overpainting. They resemble fragments of information or memory that have lost their original clarity. Some structures cover others, contours dissolve, while individual traces reappear on the surface. The result evokes a consciousness attempting, after prolonged inner activity, to free itself from an excess of images.
White is not emptiness here. On the contrary, it contains numerous tonal variations and traces of previous states. Black and grey fragments emerge through the luminous surface like remnants of thoughts that cannot be completely erased. The sparse ochre accents preserve a sense of hidden warmth — a residual presence of colour beneath the almost bleached surface.
In Insomnia X, what matters is not so much the stream of thought itself as what remains after it has passed. The painting resembles a space after a prolonged inner dialogue, when specific images have already lost their meaning, yet their traces continue to exist.
It is a kind of archaeology of consciousness — a surface on which erasure does not mean disappearance, and silence retains the memory of previous movement.
Buy Insomnia X — "Insomnia" Series (2005)
Year
2005
Dimensions
90 Х 90 см
Materials
oil on canvas
Medium
Painting
Series
INSOMNIA
Price
$2000
Shipping cost depends on location
Insomnia X is one of the most restrained and nearly colourless states within the series. After the emotional and chromatic intensity of the other paintings, what remains here is an almost monochromatic space of white, grey, and black, through which occasional warm ochre fragments emerge.
The composition is formed through layered planes, brushstrokes, erasures, and overpainting. They resemble fragments of information or memory that have lost their original clarity. Some structures cover others, contours dissolve, while individual traces reappear on the surface. The result evokes a consciousness attempting, after prolonged inner activity, to free itself from an excess of images.
White is not emptiness here. On the contrary, it contains numerous tonal variations and traces of previous states. Black and grey fragments emerge through the luminous surface like remnants of thoughts that cannot be completely erased. The sparse ochre accents preserve a sense of hidden warmth — a residual presence of colour beneath the almost bleached surface.
In Insomnia X, what matters is not so much the stream of thought itself as what remains after it has passed. The painting resembles a space after a prolonged inner dialogue, when specific images have already lost their meaning, yet their traces continue to exist.
It is a kind of archaeology of consciousness — a surface on which erasure does not mean disappearance, and silence retains the memory of previous movement.
Ask Insomnia X — "Insomnia" Series (2005)
Year
2005
Dimensions
90 Х 90 см
Materials
oil on canvas
Medium
Painting
Series
INSOMNIA
Price
$2000
Shipping cost depends on location
Insomnia X is one of the most restrained and nearly colourless states within the series. After the emotional and chromatic intensity of the other paintings, what remains here is an almost monochromatic space of white, grey, and black, through which occasional warm ochre fragments emerge.
The composition is formed through layered planes, brushstrokes, erasures, and overpainting. They resemble fragments of information or memory that have lost their original clarity. Some structures cover others, contours dissolve, while individual traces reappear on the surface. The result evokes a consciousness attempting, after prolonged inner activity, to free itself from an excess of images.
White is not emptiness here. On the contrary, it contains numerous tonal variations and traces of previous states. Black and grey fragments emerge through the luminous surface like remnants of thoughts that cannot be completely erased. The sparse ochre accents preserve a sense of hidden warmth — a residual presence of colour beneath the almost bleached surface.
In Insomnia X, what matters is not so much the stream of thought itself as what remains after it has passed. The painting resembles a space after a prolonged inner dialogue, when specific images have already lost their meaning, yet their traces continue to exist.
It is a kind of archaeology of consciousness — a surface on which erasure does not mean disappearance, and silence retains the memory of previous movement.
