Maryan Besaga

My artistic practice explores presence — the presence of the human being, memory, time, and energy within space. I am interested not so much in visible form itself, but in what exists beyond its boundaries: traces, tension, echoes, and shifts of state.

For me, painting is a space in which reality ceases to be unambiguous. A figure, a landscape, light, or an abstract structure can exist simultaneously as a tangible image and as a carrier of something unseen. I work through layers of form, colour, texture, and translucent planes, allowing one image to emerge through another. In this way, the painting becomes a kind of palimpsest — a space where memory, experience, and the present moment overlap.

At different stages of my practice, these explorations have taken the form of reflections on presence and absence, birth and transformation, insomnia, cosmology, movement, and resonance. Yet beneath these changing themes remains a continuous interest in moments of transition — states in which the material begins to lose its certainty and form becomes a carrier of energy.

In my recent work, I have become increasingly interested in the relationship between the visible and the invisible. Line, light, rhythm, and colour become means of tracing what cannot be seen directly: inner movement, spatial tension, and the connections between objects, space, and the human presence. I understand this as a search for the contour of energy emerging from form.

My works do not seek to offer a complete narrative or a single interpretation. Instead, I aim to create a space of encounter — a space in which viewers can relate what they see to their own memory and experience. In this sense, I see a painting not as a finished image, but as a field of interaction: between the material and the immaterial, presence and absence, individual experience and the larger space of which we are a part.