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– How did this project start for you?

– This is a long-term friendship and cooperation with the Heritage Gallery.

– What do you expect from the project?

– Long-term, good and healthy partnerships.

– I would like to know about the sacrality of your work processes. Is there an element of spontaneity and “sudden birth” in your work or every piece is done using verified, classical methods with sketches and long preparation?

– Basically, this is a long painstaking work and preliminary research. There is a lot of research behind my art objects because I am a fundamentalist. Sometimes there are moments of spontaneity, but I always give them a few days to finalize.

– In one of your series you combine incompatible materials such as marble, concrete, wood and copper. What does this fusion of man-made and natural mean? How do you choose which materials to mix in each piece?

– Who said that marble, copper and wood, for example, are incongruous? A distinctive feature of my work is that I do not set myself restrictions and frameworks. Any story can be in several

forms of narration but in fact it will be the same story in form, only slightly different in content. In my work I am an experimenter. I like the non-trivial solutions.

– Tell us how you came up with the fusion technique? How is it possible to combine such complex and incompatible structures in one work without certain narrow-profile skills?

– There are technologists and specialists in my team. It is impossible to know everything yourself. I am constantly learning different techniques from a lot of people. There is a picture and

my vision of how it should be but there is an understanding of ergonomics and design. Sometimes these stories do not coincide, unfortunately. Then my team and I try to find compromises with minimal losses in terms of idea and design.