With ABSOLUT, painting reaches a point of extreme simplicity. After colorful expansion, swirling and projection, only the essential remains: black and white, presence and absence, fullness and emptiness.

 

The canvases, alternately black or white, become primary fields. Large, inverted brushstrokes are inscribed on these radical surfaces — white on black, black on white. The gesture is direct, assertive, unambiguous. It does not describe, it affirms.

 

The absence of color is not a withdrawal but an intensification. By removing chromatic multiplicity, ABSOLUT focuses the gaze on the material, the breath of the gesture, the tension of the contrast. Each mark becomes an event. Each interruption of the background becomes an apparition.

 

The series explores duality as a foundation: light and darkness, appearance and erasure, energy and silence. But far from opposing, it creates balance. Inversion becomes dialogue.

 

ABSOLUT is a return to the threshold—

where painting no longer narrates,

it exists.