Ondak presents a selection of both older and newer artworks based entirely on sculptures in the Zahorian & Van Espen Gallery.
From the minimalistic, the almost invisible, and the easily missed to the more physical,
the destabilizing both eyesight and mind, the rationally geometrical, the focused on visual senses,
the logical and the modernistically aesthetical.
According to Roman Ondak, Camouflage is about the perception of reality and art's ability to mediate reality.
A direct reference can be found in the document of a one-day intervention Camouflage Building from 2009.
He amusingly, playfully, and subtly revealed the inner truth about government buildings in Wellington, New Zealand.
The strategy of deleting large parts substituted by details was applied in
the installation Walls being Doors from 2012 and in the object called Two keyholes facing each other from 2012.
In the first case, a symbolic opening of empty gates and in the second one,
all gates as a sculptural tribute to total transparency as an end of voyeurism with
simultaneously paradoxically disputed attachment on an onyx pedestal.
In the new series of suspendable objects called Crosses and Pyramids from 2019-2020, Ondak shows how well he understands his objects.
He transforms their original form into signs, shapes, symbols, puzzles, and visual codes.
He takes interest in what's happening under the surface, both in the literal and metaphorical sense.
His sculptural and spatial thinking comes from connections between something and someone.
It's defined by multiple points of view on physical and mental borders
tied to opening more paradoxes, contrasts, and ironic questions with an exclamation mark.