I work now with methods of combining the painting and drawing with a photograph and also forms which represent different than image ways of communication - writing.
I discovered by accident that the cut outs of the acetate transparent film when combined with water become sticky on the printed side which can be transfer onto paper. It is difficult to achieve the accurate transfer as the water dissolve the print quickly and wash out the first layer of ink very quickly but that is actually the beauty of this method - the photographic image gain the qualities of the watercolour paint.
I confront the painted or drew forms with the photographic images of some organic structures and digitally generated forms.
The painting and drawing is commonly confronted with photography as a mean of representing the subject with a full human control, without the intervention of the soulless apparatuses. The control is always limited as all tools determine the form, but the non-human aspect seems to be characteristic and intrinsic to photographic images because of the complexity of the algorithmic processes involved in the creation of the image.
The new method is blurring the boundaries between those two mediums. The recorded image printed on the acetate sheet, immersed in water and then transferred on paper become a painterly physical fabric. The ontologically different forms blend on the shared surface into one indistinguishable configuration.