N.Đ: Your paintings are based on meditative, abstract compositions that connect symbolic and metaphysical spaces, leading the viewer into introspection and allowing them to continue the cognitive process through personal experience. Can you tell us more about that?

T.G: My paintings strive to create a space that invites the viewer to pause, introspect, and connect with their own thoughts, memories, and emotions. Through abstract forms and subtle symbolism, I aim to open a space that transcends physical reality and leads to deeper reflection. My desire is for each person, guided by their personal experience, to find the meaning that resonates with them the most. Instead of providing ready-made answers, I try to direct the viewer toward an inner journey through all the elements that make up the drawing or painting.

N.Đ: The symbols of ancient traditions, such as the circle, spiral, symmetry, and sound, carry an archetypal code in your paintings. Do you consider the visual representation of the painting’s complexity and richness to be more dominant than the messages it conveys?

T.G: Symbols like the circle and spiral, deeply embedded in every segment of existence, hold a special place in my work. They carry universal messages about interconnectedness and cyclicality, which are especially emphasized in the exhibition Night Sky, inspired by nocturnal and cosmic spaces.

Visual complexity and message are inseparably linked: subtly and calmly, they lead the viewer to personal experience, inviting them to feel the silence, infinity, and peace of the night.

N.Đ: Your work is meticulously planned and mathematically precise in its initial stage. Do you strive to maintain control over the painting throughout the process, or does it take on a life of its own as you work?

T.G: The work evolves and changes during the process, sometimes requiring unplanned reactions. These changes and solutions are usually subtle and simple, yet their execution can be quite demanding. Control over the painting is always present, but never rigid. I want the work, despite its precision and meticulousness, to retain its spontaneity and natural ease.

N.Đ: The materials you use—glitter, holographic foil, and acrylic paints—along with your technological approach, resonate with the materialization of imagery on canvas, the dynamics of light and color, and the creation of symbolic spaces. Does this technological approach help convey the message and symbolism of your paintings?

T.G: The materials I use, such as glitter, metal leaf, holographic foil, and acrylic paints, are not merely aesthetic choices—they interact with the materialization of imagery, the dynamics of light, and the vibrancy of color. These materials bring more than just color to the work; they introduce their own nature, creating a physically present light and flashes reminiscent of celestial phenomena. Through them, I create symbolic spaces that oscillate between fleeting light effects and lasting impressions. Combined, these materials help convey the intended experience while highlighting the essential aspects of light and color.

N.Đ: In your paintings, color tones translate into sound, the image becomes an echo of flickers, color chords, and you explore how vibrations and frequencies shape our physical reality.

T.G: Colors, just like sounds, have their own vibrations and frequencies that influence our reality. Each color carries a specific energy that communicates with our senses and emotions. A painting or a colored drawing becomes a place where colors, much like sound, possess the charge to communicate, creating an internal experience that extends beyond the visual effect and shapes our emotions.

N.Đ: The canvas is a medium, a space for exploration, but also for decoding the inner and outer philosophical dimensions of existence, which you distill into artistic expression.

T.G: The canvas, paper, or any other medium becomes a meeting place between clear ideas and concrete symbols, where I explore the connection between universal truths and personal experiences, allowing the viewer to connect with something new, unexplored, yet inherently familiar.

N.Đ: Light and its interplay are primary elements in your paintings—kaleidoscopes of fantastic imagery, temporal and spatial dimensions—while warm color accents evoke an optimistic experience. How important are light and its representation in your paintings?

T.G: Light in my paintings becomes a subject in itself. It often has no concrete source; rather, it is the purpose—a symbol, a pictogram. This light defines the space, marking it as a focal point. By repeating elements of light, color, and line, whose movements and flickering create a sense of wonder, I aim to convey a feeling of beautiful imagination. I believe this feeling is rooted in all of us and should be nurtured. Through the interplay of light and color, I strive to create an atmosphere that encourages and provides inner peace.

N.Đ: How do your works develop in relation to color schemes and composition?

T.G: The color palette is shaped by the desired atmosphere and the emotional impression I want to convey, while composition is a process of balancing, always aiming to create harmony. Although there is an initial concept, the work evolves throughout the process, but the final result is usually compositionally aligned with the original vision.

N.Đ: Are there any significant differences between drawing and painting? Where do you feel more comfortable?

T.G: In my opinion, there is no fundamental difference between drawing and painting. These two media represent different ways of expressing the same artistic idea, and the choice depends on the specific needs and the desire to explore certain dimensions of a concept.

N.Đ: Your art is not just aesthetic; it is also an invitation to self-awareness and meditation, using art as a means of connecting with universal principles of existence. How do you see the role of art in this process?

T.G: I believe that art should not be purely aesthetic. To me, it is the most significant medium of interaction between individual consciousness and universal principles of existence. The art observer enables themselves to gain a deeper understanding of the world within and the world around them—both infinite.

N.Đ: Your works contain references to styles from different periods, including hints of the aesthetic principles of Art Nouveau, such as those represented by Gustav Klimt, manifested in the use of curved lines and intricate patterns. What message do you want to convey through your art? Do you aim to provoke an emotional response, or do you prefer to let the audience interpret their own perceptions?

T.G: I never consciously reference other artists, although similarities may naturally arise. I am constantly in the process of imagining and discovering, and I often feel that, due to the time-consuming nature of realization, I cannot bring all my ideas to life. My goal is to convey thoughts and feelings through work that reflects my personal experience—an experience that, in certain moments, is familiar to everyone—and takes place in my time, in the present moment.