The essay argues that a successful curatorial approach creates a meaningful dialogue between historical and contemporary artists not through opposition or homage, but by placing their distinct visual languages in a shared space where tension and contradiction generate new meaning.

A curator's most meaningful discoveries often happen beyond documentation — in studio visits, in trust built over time, in the willingness to look at what artists themselves have set aside as unfinished, secondary, or not yet ready to be seen.

The decision to present Between Mediums online was not simply a logistical one. It became a curatorial condition in itself, requiring a reconsideration of how a work of art can be perceived when the viewer first encounters it through a screen. The central difficulty lay not only in how to show works online, but in how to preserve the difference between mediums within a digital format. Painting, photography, sculpture, and installation produce meaning differently, yet the screen inevitably tends to flatten these distinctions. I tried as much as possible to make these differences visible, but almost every solution we tested appeared flat in viewing. Sculpture lost its presence, painting lost its surface, and photography lost its scale. What this project changed for me forever was the understanding that art should not be forced to imitate physical experience online. Instead, it must be framed contextually, in ways that remain honest both to the work and to the viewer.