It could be said that I have two parallel work processes. When I paint, I’ve come to realize, I produce at least two works, the one that is “conscious” (the painting) and the one that is “unconscious,” a product of gestures while painting, such as rubbing off paint from my brushes, removing dry paint from palette and jars, etc. I often find the “side products” of my painting as interesting as the painting itself (sometimes more so) and, with additional work, I turn them into “conscious” works. These are often 3d works, as I include in them everything that the paint has touched, paper, cardboard, dried paint, etc. ~Marija Kondres
As for my main subject matter or at least my starting point, it is eroticism and love expectations (which has little to do with sex). A work has to feel alive and hopefully touch a creative (erotic) nerve in a viewer. I am also preoccupied with the idea of a full surrender in love, its idealistic concept and in reality, apparent futility of it, as it is often the case that those “who give all do not get all”. Hence I often paint erotically engaged figures whose bodies are never fully inside the painting, as their hand or a leg or something is always reaching out somewhere else. But I am also an optimist and sometimes figures do fit in the canvas.