Ladies and Gentlemen,
in the second and third quarter of 2012,
stemming from the conception of automatism and characterised by free lines,
early Leoart has evolved in the direction of abstract expressionism.
Toned-down colours became more intense, and the diagonal composition has been replaced
with expressive composition of a horror vacui type, bringing to mind Palaeolithic petroglyphs.
Through a play of non-figurative shapes, the Artist obviously refers to Kandinsky’s work,
however the repetitions of certain motifs, as well as his own choice of painting tools
determines the Artist’s truly original style. Among various geometrical forms,
the element that appears most often is a circle – the symbol of absolute,
perfection, infinity and inner harmony. Another recurring motif is a spiral,
whose signification is a topic of many arguments among specialists;
however it is probably a symbol of birth and/or rebirth.
This theory is supported by a dominant of orange,
a colour referring to fire – the element evoking deep inner transformation.
And the cinnabar red is on the one hand the colour of life and vitality – vitalis;
while on the other, a sign of fight and revolution.
The artist leaves many understatements, and uses deep symbolism,
referring to the painting traditions of the 20th century,
Eastern philosophy and to primitive art,
and leaving space for the recipients to create their own interpretation
and feel the works their individually.