Through the past four years painting in clear haptic quality that does not compromise the portraying value, has been significant for Viktor as a characteristic feature of his work. This quality has organically resulted from the author's previous work, yet before, this quality had been tamed by the video performance, sublimated by conceptual installations and by its documentation.
Eventually, Viktor abandoned electronic media as a mean of creation and sharing and as a result he’s been allowing less and less of the media stream to his creation. It's a conscious transfer from virtual to immediate contact with the material and its elements. Actually, and perhaps lawfully, other qualities were allowed to be processed and developed in the process of investigating substances, in painting with gestures, body and balancing on the edge between them. In addition to the acrylic paints, tempera and oil paint, which naturally are also substances, Viktor introduces into painting also meaningfully wider relations in recording paintings using carbon, aluminium, clay, honey or makeup. One needs to realize that European painting originated from a similar approach. Thus, from the examination and an attempt to fix a human emotion in organic or inert material. Similarly, an artist or an ancient alchemic was convinced that the art is not only a carrier of a meaning but also an emotion and a transferor towards the inner world.
James Elkins begins his book What Painting Is with a sentence: "Painting is Alchemy" and then develops this seemingly clear sentence on almost 300 pages. Viktor's painting is created on a background of direct experience with these substances that are happening to be also a mirror, partner and challenge at the same time, in the pursuit of transforming impulses into form. As a result, we have a painting in the one of its most characteristic positions of its alchemical nature. In the beginning, however, there is a body with all its dispositions for a medium, for understanding the relations in the world and towards the world. (“The body is our universal medium for having the world. "- Maurice Merleau-Ponty).
Perhaps it is not an exaggeration to claim that this very complex framework must be confronted immediately and independently. There is no ambition to show and describe, but to be and to intervene. Viktor’s paintings must be viewed directly in order to be withstood with no interpretations, symbols and analysis of cultural background or the previously mentioned viewing. That is the essence of theirs. Admittedly, the physical traces are conditional and are linked to the actions of the inner sight, not just the actual eyes. Our sight has its silent spring in the layers of sediments of our emotions which source is unknown.
For example, his installation of six large-format paintings at the Oskar Prize 2015 Finalists' Exposition, marked the status of painting as a "third body," as physical and especially sensibly detected recording of an interaction between the author and the other person. Viktor invited intuitively various people to the dialogue and it has become a major process of creation and private performance at the same time. Dozens of works were made, embodying the volatility of the relationship recorded or encrypted in fabrics of bed sheets. Interestingly, the movement of painting as a monad to dyad in human relationship into triad – the triad is reflected in an artefact as a fluxus formed from the tension of two polarities. On contrary, the return to the monad is done naturally and organically, the liquid painting becomes the finished painting which in itself carries the context of its origin and the purpose of its existence. Finally, we can detect the parallels of Viktor's efforts in phenomenological thinking, where we do not detect the phenomenon through our intellect, but through our experiences. ("We do not know through our intellect, but through our experiences. "- Maurice Merleau-Ponty)