Can you tell us a little bit about yourself?
Actually what is most important part to me and what is interesting is that I never wanted to be an artist and I really don’t like art. I never made a decision to become an artist. I just did it. It was always about drawing, painting, being creative, from my early years. I really think it comes from this sort of a social dysfunction, when you’re perhaps not that well socially integrated and you spend a lot of time with yourself. And then you’re not forced to be creative but drawing or painting is just the only thing you do. And then after some time people start telling you “wow you’re really talented!” So you’re good because you’re doing it but you never made a choice to do it. And when you get applause you might start to believe that that’s your purpose in life.
You see that in my art – that I never wanted to be an artist. What I love is mathematics, physics, medicine, bio-engineering, visionary things, thinking about things in another way. So now I link my art to those disciplines. I create abstract minimalistic art about existential forces and energies bounded to a black square. Fire, blood, breath, shooting, all kinds of energies projected on to a square painting. It refers into my interest in science, in the energy that gives us life, energy that moves planets…
What would you consider your distinctive achievement?
Hm, I really have to think about it, and that says already a lot. I’m not proud of what I do and I feel that it’s actually necessary that I’m not.
So what I could mention here is something spiritual. In the morning when I drink coffee I close my eyes and meditate. I find a place which is constantly there when I’m closing my eyes, and it’s been for at least 12 years now that I’m doing this. It’s one or two seconds when I’m somewhere in between, in this dark, but very warm place where everything comes together and it’s really nice. You know, because everything that is around me goes away, dies, I really don’t like that. And my biggest achievement is to have created in my mind something which is everlasting.
What are you looking forward to?
I would like to change my work, make it more extreme, clearer, describe it better, talk about it, exhibit everywhere… And I would really like to calm down. Because right now my personality is much stressed, I work for twelve hours every day, expressing myself. I would like to transform my minimum abstract art, make big drawings where my scientific interest and art can be combined.
I think I can combine professional development with having a family and a calm life, maybe close to nature, helping others to live their dreams, and living my own vision. But that’s really difficult. To make sure that you’re living your vision and not that of someone else. I think it’s even easier to stay in your fear, be passive, than to go for that passion.
Which advice would you give to other professionals?
First of all, I wouldn’t advise them to be an artist. But you never decide to be one, it just happens. So no matter what you do in your life, make sure that you really do what you want to do. I’m really afraid of being frustrated, but also of dealing with people who are frustrated because they’re not living their purpose. If you don’t live your purpose you’ll find another addiction in your life and that’s very dangerous.
What are the challenges that we need to overcome to make cultural entrepreneurship more accessible?
That’s very hard to say I think. There are so many levels… In every stage there are other tools you can use. But let’s mention the financial side. For example, some 7 years ago if you finished art academy you could apply for a subsidy. People were happy with it, because they could get money just for calling themselves creative, they didn’t even have to really do anything. When the government changed it everyone started protesting “the government doesn’t care for art anymore”. But then what happened as a consequence was that artists started forming groups, wrote papers and books together, even wrote books. It’s really hard to say that but I think when people start their artistic career they shouldn’t be given easy money. Take their money and see what they do. Because then they will be forced to find strength to go through and create real art.
Another thing: people are not informed about what possibilities are out there to apply for subsidies or grants. Even if they could apply, they don’t know how to do it. They’re great artists, they work very hard and probably they are the ones who really need help from the government; but they would be the last to ask! So the access to this kind of information is another challenge to be confronted.
Thanks John
