Why did you decide to join the Side Effects team and submit one of your works for the debut series?
I simply had no choice. We live in tough times, and a man just tries to keep his head on the shoulders. When a little man like me is approached by such a powerful machinery, I have no choice but to submit and do all in my power, while also to avoid pissing off the client and to continue to living, working and contributing to the society as a whole.
How did you choose which of your works will be printed and produced in the limited pressing of 100?
This work has been commissioned for the SE series, so it was specially made for it. At least that is how it seems to me. I was mostly inspired by the fact that the idea of the series is to communicate in the living and working ambiances. I think that monumental and penetrative forms such as this one can only motivate the humans!
Besides working in the print domain, which is obviously interesting for you, what are your other favorite forms of visual expression?
Film, comics and humanitrian work.
What kind of inspiration lies behind “The Power of Legacy”?
Inspiration for this piece are the remains of aesthetic forms that followed and shaped the radical ideological doctrines developed between the second the third decade of the previous century.
Which work or output by another artist would you consider your “eternal inspiration”, if you have had this kind of experience?
“It’s all the same, either then or today. Time will always follow its own schedule; but ancestors have ordained it this way.” The Mountain Wreath by Petar Petrović Njegoš
How would you describe your aesthetics in a couple of “-isms”?
What is your relationship to and experience with silkscreening, as a technological process for presenting visual ideas?
We have an extremely nice relationship, almost erotic!
Do you have a favorite “fine art paper” that you had a chance to work with?
When I work on commercial projects I mostly use some of the Munken offset papers, as the most reliable option that has a good ratio of price compared to to quality. On the other hand, when I work on my own projects I am excited to combine cheap, thin papers such as PAMO classic or Bulky Bright used for book printing, with fine papers like SHIRO Alga Carta, Munken Lynx or color papers such as INTENSIVE IQ color Coral Red. I am eager to combine something that is very cheap and unreliable with the refined and high-quality stuff.
Will the success change you?
I do not respond to provocations and I do not negotiate with terrorists.