Goce Smilewski, in his fictional biography of Spinoza, puts in the head of the latter the following confession: “I started to be fond of corners, they would attract me irresistible (…) wherever we happened to be, I would choose a point where three lines come together”.

Mystical potential of architecture, hidden in an abstract order of simple solids, rhythms and symmetry, is revealed perfectly by narrow frames - fragments. I try to make these details autonomic, despite their fragmentariness.
I call this architecture “semi” not only because it depicts just sections, but also because of the size – the majority of the works are small, what makes the monumental originals become intimate spaces where one feels safely isolated from nature, both physically and mentally.

A similar ambience prevails in humble, apparently commonplace, and as a matter of fact, full of ascetic charm Pieter Saenredam's painterly perspectives. Saenredam, almost contemporary to Spinoza, seemed to share with the latter, a particular fondness of right angles.