I originally started drawing stripes on the margins of notebooks without any particular thought, during moments when my hands had nothing better to do. What began as a way to pass time eventually grew into a conscious interest. I began striping blank pages. I was fascinated by the effect of the simple pattern. Drawing the lines brought a straightforward but unique joy. It made me happy to fill the pages, to leave a mark with the tip of my pencil. The order of the lines came instinctively—I couldn’t imagine my stripes covering the paper in any other way. But along with this internal sense of order, the process also included the fact that each stroke was different. None of them were calculated, no two pages were the same, and no two stripes were identical.
I first started drawing lines without any particular intention, scribbling them along the margins of my notebooks in moments when my hand had nothing better to do. What began as a way to pass the time gradually turned into a conscious interest. I started striping empty sheets. I was fascinated by the effect of such a simple pattern. Drawing the lines was simple, yet it gave me an incomparable joy. It made me happy to fill the paper, to leave a trace with the tip of my pencil. The order of the lines came instinctively; in my mind, it was unimaginable that my stripes could cover the page in any other way.
But alongside this inner sense of order, it was also part of the process that every stroke was different. None of them were calculated; no two sheets were the same, no two lines identical.
Then came the image surfaces. The motif no longer claimed empty space but began to conquer already occupied ones. The effect was equally intoxicating. The striping became an extension of myself, an expression of how I confront the world. As the drawn lines covered printed content, I grew more and more familiar with the chosen images, newspapers, and flyers. The striping enveloped surfaces that evoked positive, negative, and neutral feelings alike. It’s important that this selection was not a judgment of quality.
The act of getting to know and appropriating couldn’t stop there. I began extending the process to objects as well. Turning the flat pattern into something three-dimensional brought new challenges. The uniqueness of each object became even more significant, since the motif could never be projected the same way onto two different bodies, even if I kept my basic rules intact.
The further development of the striping was the human body. I striped my own body, thus unifying it with the rest of my works.
(Translated from the exhibition text that was created from this project in september 2023)
