Presence is a long-term artistic project exploring the invisible processes that shape space. I am interested not in depicting a specific object, but in the possibility of perceiving the trace of a force, energy, or information through the changes it leaves within an environment.

At the core of the series is the idea of the world as a continuous field of interactions. What we usually perceive as empty space becomes, in these works, a saturated environment: it pulsates, accumulates traces, responds to external impulses, and generates rhythms, waves, and zones of varying intensity.

One of the key visual elements of the series is the recurring sign — an arc, a circle, a short stroke, or a line. Thousands of these traces cover the surface, evoking the fingerprints of the Creator, ripples on water, sound vibrations, the topography of an unknown landscape, or records of processes that cannot be directly perceived.

Yet repetition never produces an entirely stable system. Shifts, ruptures, concentrations, and deviations emerge within it. It is precisely through these disturbances of rhythm that presence reveals itself — something invisible becomes perceptible not through an image of its own, but through its effect upon the environment.

Across different parts of the project, this idea develops in different ways. Organic fields gradually transform into horizontal and vertical flows, concentric structures, geometric constructions, and unknown graphic forms. At times they evoke a natural landscape; at others, a cosmic field, a map, a signal, or a data structure. Geometry interacts with a living, almost tactile surface, creating tension between chaos and order, the natural and the constructed, chance and system.

The material itself — oil pastel — is essential to the project. The direct contact of the hand with the surface allows each mark to become a physical trace of an action. The repetition of thousands of gestures accumulates time within the work: the surface becomes a kind of memory of the process through which it was created.

For me, therefore, Presence is not an attempt to depict the invisible. It is an attempt to ask a different question: can we recognize the existence of something we cannot see through the changes it leaves behind?

In this sense, the works may be perceived as models of unknown worlds, energy fields, or informational spaces. Yet they remain open to interpretation. The viewer is given no definitive explanation; instead, they encounter an environment and are invited to sense for themselves the pattern, signal, or presence concealed within it.