In the presented works, one may notice the influence of Bergson and a weaker impact of Nietzsche. The influence of the first one is revealed by Author’s attitude towards nature. Inseparable nature’s element is a human being, harmonized with its individualistic way of existence. And the nature portrayed here, in the size of the universe, is somewhat still in the phase of continuous creation. Only intuition allows the spectator to get an understanding of the existence’s dynamism showed in this manner, as well as to dig into it by interacting with the work. Every viewer should, however, remember that intuition leads to oversimplifying and generate intellectual laziness. The intuitive approach to perceiving these works does not require references to superhuman power, yet it expects the viewer to go beyond senses and rational mind. Because it is not mind that is in charge here.

The influence of Nietzsche may be noticed in the averseness towards everything that is small, poor, common, ordinary. In the Author’s works, adoration and worship go to a free and independent, yet lonely or even tragic human being. Fear and struggle are demonstrated here as those that can take one’s temporal happiness away. There is also calm, but it is fused with the pressure of waiting for something that is still hidden, uncovered and that may alter the presented scene – like a volcanic eruption. One may perceive the calm before the storm. These works beam with the memory of creation, the memory of love, the memory of beauty, and the memory of temporal experience.  

The Author’s works do not embellish the old ideas; they show however numerous moments of an intellectual, physical, and spiritual change of the world and human. Are these moments of change, depicted in the paintings, going to last forever? Are they a sneak peek of something close? It is hard to say. But they surely create new myths, desacralizing the old ones.