First signal

This painting, which is part of the “Limits” series, addresses the question of the limits of human identity by reducing the human figure to a simple, abstract sign—in this case, a vertical linear form. The minimalist shape, consisting of a single white element against a deep, brick-burgundy background, becomes a metaphor for a universal code of existence, in which the individual is both present and almost erased, reduced to an essence that can be interpreted as the boundary between being and non-being.

The background is not merely a context but also stands in opposition to the white line—a kind of infinity juxtaposed with the finiteness of the sign.

The white form, slender and isolated, is the central element of the painting. It symbolizes the human as an individual—simplified, stripped of detail, yet intensely present. Here, the figure lacks the characteristic lines seen in earlier works; it does not possess clearly marked boundaries. The boundaries are merely conventional—something akin to separating body from space, mind from matter, individuality from the collective. In this way, the painting references philosophical considerations on the essence of humanity.

It is a cipher of identity—a code, an abstract record of what makes us human. A sign that can be read by the viewer in different ways, depending on their perspective. Is a human being just a record of data, a genotype, or a pattern for interpretation by a greater order?

The vertical form suggests direction: upward and downward. It may refer to transcendence, a journey from earthly existence toward something higher, yet it is also rooted in a specific moment, making it a symbol of the fleeting “now.”

Here, the boundary as a concept is dynamic—it is not merely a point of separation, but rather a point of contact and possibility.