This work began as a traditional self-portrait but gradually evolved into an exploration of culture, symbolism, and self-reflection. The artist encountered Tibetan Buddhist icons and adopted the thangka style as the foundation of the composition, adhering to the classical canons of the genre. This gives the work recognizability and a sacred context while preserving its individuality.
The composition incorporates elements of iconography from other religions, reflecting a search for references and a reinterpretation of cultural heritage. Despite the artist’s atheistic beliefs, these symbols become part of his inner world and artistic concept. The central figure, positioned in a classic iconographic pose, holds a book inscribed in Latin: “Qualis homo, talis deus” — “As the man, so the god.” This element provides a key to understanding the work as a meditation on identity and the interconnection between the personal and the cultural.
The concept of the self-portrait goes beyond mere physical representation: every element of the composition symbolizes a specific aspect of the artist’s personality, combining tradition with personal reflection.
