The theoretical platform of my artistic practice is meta modernism and new sincerity. I define my main method by the term “oscillation”. In my works, I do not transmit meanings, but prisms, the very optical distortions that belong to my eye and perception. Thus, I mark the boundaries of the extremely extended concept of medium specificity. In a sense, my work is a non-existent “postmortem”, a failed snapshot.
The loss, the trace of the fixation itself, the exposure of the film – this effect interests me as a phraseological unit of the pictorial language, abstract
In my artistic practice, I start from the nature of the medium, develop the initially modernist problem of the relationship between figure and ground. I discard the traditional artistic gradations between painting and background, as well as the
division into the main and the secondary – both inside and outside, trusting the viewer to use the reason for doubt as he pleases, allowing him to come to his own conclusion.
In my works, portraits are not just portraits. The characters are often pensive, their eyes are directed inward, but at the same time they dissolve in the surrounding space, just as we ourselves constantly “oscillate” in life between our inner world and interaction with the world. And we will never be able to accurately answer the question of what is our personal and what came from outside.
Painting is an integral part of my life. For me, not painting is like being silent. From early childhood, I made the decision to live in creativity. I live by creativity.
The object of my work is a person. One person among many. I use the analogy of a birch forest. I think this is very close to our society and our lives. An endless chain, one after another, someone nearby, someone above, someone below. But wherever you are, you are always somewhere in the middle, because no one knows exactly where this chain begins and where it ends.
In my works, I combine a realistic depiction of a person with the idea and theory of meta modernism. I am drawing a person who is constantly balancing. Between internal and external, personal, and collective, real and virtual, obvious and hidden. Even the birches in my works fluctuate, becoming now realistic, now virtual, vector. The border between all these worlds, it seems to me, is the line of our life. Knowing nothing for sure is our world.