The main visual and emotional inspiration for my paintings and graphic works is light vibrations; the way light and shadows interact in a kind of luminosity game, whilst scanning the surfaces, shapes and the volumes of urban places. My favorite views of cities are the ordinary ones, encompassing the anonymous settings, the movements of people, items, meetings, shopping and road traffic. This is a continually transforming scenery, where the presence of human beings moves quickly and fluently, leaving a sense of perpetual transience to the subjective sensitivity of the observer. The wide range of city views has been the focus of my last series of works, dealing with building sites, where transience and transformation of form being their very essence. These sites are very often covered by a barrier material, allowing a only a glance of the internals through the occasional small rips in the cloth or the transparency of the fabric, so that only by hints can the observer catch the intimacy of tubular structures, scaffolds and frames hidden behind the cloth. In “Project to a construction site VIII”, the representation in the image of an existing building site is meant to symbolize the abstract idea of an inner space; whilst the barrier material acts as a metaphorical skin like layer, which limits the internal from the outside space, the physical from the mental space, the real from the imaginary world. The word “Project” in the work's title hints at the artist's activity, his “inner project”. This inevitably leads to difficult routes in to the world of the invisibleness. The mind project is more complex when operating with graphic print media; the Artist has to design an abstract image, which only becomes confirmed at the completion of the creative act, which is the printing of the matrix. It is only on this medium of metal that all the printmaker's hypothesis, hesitations and skills are finally realized .The obstacles the artist meets may be physical when techniques and materials must bend to his expressive needs. There may also be mental obstacles when the artistic research turns into a real psychological demand.