Arsenal Gallery, 2017

One of the author’s fundamental assumptions is to cast doubt on the deeply entrenched binary system in our culture in the cognitive context. The artist refers to two contrasting positions using a paraphrase of the terms positive and negative. The positive image relates to empirical knowledge – finite, complete, while its opposite is a created image that refers to negativite. By expanding the meanings of these graphic terms, we encounter the dialectics of two conflicting attitudes that function within the realm of a single work of art. The main purpose of the author’s use of epistemological metaphor is to pose the question of what lies between positivite and negativite. The gradual transition from transparent matter, through semi-transparent blacks, to its profound value, is synonymous with uncertain movement between positivite and negativite; what we automatically call truth and falsehood.