Flag — EN

In the Flag series, the intervention is deliberately kept simple and decisive: an existing flag is cut back to a square, shifting the fluttering symbol into a fixed, frontal picture plane. The original geometry of color fields and diagonals remains present as a foundation, but the cutout enforces a new spatial distribution—a rigorous composition in which the cut edge, hem, and fold become visible as formal elements. In this way, the work moves toward the art-historical context of minimalism and geometric abstraction, emphasizing reduction, seriality, and the plane as an autonomous object. At the same time, the flags are often further worked: saturated with monochrome paint or covered with earth, undermining their function as recognizable symbols. The series functions as a visual articulation of ideology and of the pressure through which power inscribes itself onto human existence. Flags are carriers of meaning: they reveal how groups charge abstract forms and colors with emotional and ideological value, thereby consolidating collective identities. By physically manipulating the flag—through coloring, covering, or cutting—this charge is laid open, and the underlying power structure, or imposed social conditioning, is critically dissected. In essence, the Flag series transforms political and social symbols into objects that make visible the tension between the individual and the collective systems that shape our worldview. Within the Flag Works, flags are fragmented and saturated with monochrome paint, eliciting a visceral, symbolic response. The works evoke the image of flags soaked in blood, forming a sharp commentary on identity, nationhood, and violence. The monochrome intervention intensifies both the material’s tactile presence and its symbolic charge, putting traditional notions of power, unity, and belonging under pressure.