Insomnia is a cloth-bound edition presented in a hard box, consisting of eight booklets with a total of 222 reproductions of drawings.

Edition of 100 copies. Issued as a private edition. Not available.

AUTHOR’S NOTE

A long time ago, or perhaps not so long, for it was when I was nineteen, I got a present of several thousand sheets of old paper. Yellowed, smelling like moss and soft as cotton, the mysterious self-playing instrument in dusty reams travelled to me from the magazines of the forgotten offices of the old regime. I cannot count all the sleepless nights spent on listening to the symphonies played by the sheets of the paper as if to gramophone records touched not by the needle but by the tip of the pencil. It seemed the supply of the paper would last a lifetime, yet it was gone just after 10 years. The paper, of less than average quality, tattered yet indispensable, initiated one of the most important and longest journeys of my life the product of which began to form shaky piles, occupy tables and cupboards, follow me wherever I went; these quaky, fragile paper pyramids formed another multi-storey structures, replicated and spread. They measured the time.

After many years of bubbling the swelling jelly-like paper magma finally collapsed, spilled over the entire studio and initiated this publication, which I automatically named “Insomnia”. I have made a selection of drawings from the years 2005-2012 putting them into sets focusing on selected motifs according to my own choice. “Insomnia” is a kind of introduction into the depth of the structure of the thoughts that I had kept secret. Such small and inconspicuous drawings are peculiar forms: it is hard to tell where they belong, for how can their gravity and significance be measured? These drawings were my intimate collection of my searches, reflections, fantasies, worries, fascinations, a constellation of gestures aimed against insomnia like the tip of the pencil shot at the blind black eye of the night. 

Drawings collected in “Insomnia” were mostly made with pencil, yet there are some made with coloured pencil, ink or monotype (notebook “00000 B.B,”). The size of the reproductions is close to the originals or in some cases smaller. The colours change their tone because the drawings were made on different papers and in diverse ways. The edition is limited to 100 copies, which in my view deserves the name of a special artist’s edition.

“Insomnia” is my personal homage paid to the faithful set of tools such as pencil, paper and eraser, while special thanks goes to supporting characters: night lamps, tables and coffee tables, random hard pads that one can draw on; chairs, beds and pillows, coffee and tea cups, spectacles. 

Drawing never lies.

Drawing always comes right on time, it creeps inside like desires and fears, it wriggles and crawls out as a blurry blot, it is a continuation of thought just like the pencil is an extension of the hand and the eye. The drawing is always the closest, the most sincere, and sometimes unsophisticated because real; it is superior to others because it is their foundation and their beginning.