Untitled, 2025

 Sun During a Hurricane, 2025

 Monotype on paper, 70×50 cm.
 The concept of this series was outlined during the pandemic, when it seemed that entropy had reached its maximum. And now it seems to me that this period has not passed, but on the contrary, has intensified its manifestations. I still feel how humanity is rushing through a series of global upheavals.

And this crazy whirlwind is reflected in the works. “Sun” is about inner clarity, about hope and about building internal supports where external ones are lacking.

  “Black Sky Mode”, 2021-25

 A current graphic series of several dozen works, based on my photographs printed as engravings. Paper lithography, monotype, A3 format, + margins, the size of the work is approximately 50×40, the edition is 16 pieces of each work, but all prints in the edition are unique due to the peculiarity of the technique. A series about atomization and at the same time fusion with the place, nostalgia and melancholy. Through the coal on the snow and chickenpox rash, through the dirty glass of the bus and the ice underfoot, forming a fragile surface — a metaphor for the unstable surface of life, a documentary, almost diary-like narrative emerges about how to survive in this fragile reality, in concrete boxes under heavy clouds. Life always finds a place for itself on the periphery of an aggressive environment, sometimes merging with it and getting lost, sometimes timidly declaring itself as a subject endowed with hidden power.

 Untitled, 2023

Watercolor, bleach and charcoal on paper, approximately 30×40 cm.
Works from this cycle figuratively refer to spilled water, waves, scattered pebbles, as if there was a shipwreck or a tsunami, and after it we find strange, half-familiar objects scattered along the beach.

This greeting or echo of a global catastrophe is felt as if through interference or a thick layer of water. And just as it is difficult to build memories of a dream into a logical narrative, it is almost impossible to collect fragments of scattered hopes into a complete picture of the future.

  Data logger, graphic design, 2023.  

 Paper, watercolor, pencil, charcoal.
We put a lot of effort into restoring lost documents, papyri, burnt books. Complex systems, data analysis, decryption, all this is done in the hope of subduing time, and therefore death.
Accumulated important knowledge, despite its monumentality and status, can be destroyed in an instant, by any madman or one random lightning strike.

 War is one of the main factors in the death of culture, and although culture can rise from the ashes, perhaps it would be easier not to destroy it. If we recognize the value of every human life, then we must also recognize the value of individual communities, communities and their culture, so that in a few hundred or thousand years we do not get it our priceless past out of charcoal scrolls, like from black boxes.

  Black calendar, 2022  

Bitumen paper, acrylic, whitewash, chalk. 80×130cm
Watercolor paper, watercolor, charcoal. 50×70cm
About people’s desire to build something new in a world where there is nothing left. Part of the project is made on bitumen paper, pargamin.
The difficulty of working with bitumen material, its oil nature refer to the environmental problems associated with any war. Nevertheless, even when everything is destroyed, people continue strange social rituals in which one can see fear, aggression, altruism, hope. More about this project on this page 

Collective inaction.2020  

  Watercolor, charcoal on paper, 40×60 cm.
 The pandemic has brought new challenges to humanity. Now being in a community for us is being in inaction. At a time when it seemed that everyone understood each other so well that it was possible, we suddenly lost faith in the possibility of something like this, and froze in anticipation and misunderstanding. Inaction leads to a deterioration in empathy, disunity and disruption of social connections. My works describe this state.

I model various situations in which people cannot express themselves, and they take on the role of observers, obedient performers, random passers-by, etc., turning society into a cluster of lonely subjects. Is it possible that the pandemic will become a lesson for everyone, and we can perhaps overcome disunity and apathy, move into the future with new skills and new solidarity?  More about project on this page 

Somewhere but not here. 2021   

gum-arabic transfer, charcoal on paper, 60×80 cm.

For many of us, armed conflicts are a plot from TV, Internet news, or video games. We always watch them as if from the outside. We worry, but we do it as spectators watching a performance. Even participating in a video game as the main characters, after the game session, we close the virtual window and return to a calm life. But how calm?

 The TV or computer screen is a membrane through which different worlds penetrate and change each other.

 War seems to become commonplace, and we are not surprised when a former classmate, an airsoft enthusiast, comes to Donbass, records a video of a shootout, posts it on his YouTube channel and immediately gets likes and comments.

 In this place, the virtual and the real merge. But if the document enhances the impression of the virtual, then the virtual, on the contrary, annihilates reality, making it, albeit interesting, yet another piece of content that does not penetrate deeply into our feelings, but which completely shapes our understanding of the event.

 In a series of graphic works, I used screenshots of footage of the Russian-Ukrainian conflict, taken by participants in the events and freely posted on YouTube, as well as fragments of video game renders.

 Thus, a common space was created where the game merges with reality, and it is difficult to understand what has a documentary origin and what is a game, this approach, in my opinion, reflects the modern attitude to wars in general and violence in particular.

This text was written in 2021.

Packaging error, 2021

Drypoint, monotype, 30×40 + margins, edition of 15 copies. 

  A series about how people build walls for themselves, enclose everything in boxes and crates, standardize, isolate and close. Many phenomena cannot be organized or stuffed into a box; they will somehow break or leak out. Each work represents a new situation and new objects in boxes that try to overcome isolation in different ways.

Poorly managed landscape, 2021

Gum-arabic transfer, charcoal on paper, 40×60cm

Terrain orientation, 2020

 watercolor, charcoal, paper 40×60 cm.