About Me.
I started painting in 2020. Pastel and canvas are my conscious choice. It’s unconventional. Pastel is usually associated with lightness, sketchiness, tenderness. Canvas — with oil and acrylic. Their combination creates tension: a velvety, breathing surface meets rough fabric. Pastel doesn’t adhere well to canvas, it crumbles, it requires fixing. But it is precisely this fragility and resistance that make each work special. I don’t blend pastel into a smooth patch — I leave marks, strokes, layers. Each stroke is a thought that hasn’t been smoothed over. The canvas shows through the pastel. This is honest: the painting doesn’t pretend to be something finished and coherent. It reveals its assembly, its doubts, its crossed-out lines.
I create physical objects. They leave their presence in the real world — you can hold them in your hands; they age, get scratched, change. This is a continuation of the same principle: thinking that becomes matter. But my pastel-on-canvas works are my main statement. They require courage from the viewer — the courage to think — and from me, responsibility for every title and every stroke.
Пастель и холст мой осознанный выбор.
Это нестандартно. Пастель обычно ассоциируют с лёгкостью, эскизностью, нежностью. Холст — с маслом и акрилом. Их соединение создаёт напряжение: бархатистая, дышащая поверхность встречается с грубой тканью. Пастель на холсте держится хуже, осыпается, требует фиксации. Но именно эта хрупкость и сопротивление делают каждую работу особенной. Я не растираю пастель в гладкое пятно, я оставляю следы, штрихи, наслоения. Холст просвечивает сквозь пастель. Это честно: картина не притворяется чем-то законченным и непротиворечивым. Она демонстрирует свою сборку, свои сомнения, свои перебитые линии.
Я создаю физические предметы. Они откладывают своё присутствие в реальный мир — их можно взять в руки, они стареют, царапаются, меняются. Это продолжение того же принципа: мышление, которое становится материей. Но картины на пастели и холсте — моё главное высказывание.
Social Works.
I create social paintings that require thought. My painting is not a wall decoration. It does not soothe or entertain. It stops you. A viewer looking for something “beautiful” or “understandable” will walk past — and that’s fine. My painting begins at the moment when a person asks: “Why exactly this way?” and does not find a quick answer.
Why many works are “not for sale” right now?
What you see before you are my preparatory sketches. They are like a musician’s drafts or a designer’s roughs. They are valuable for their idea and dynamics, but they are NOT a finished product (like the final painting). Based on these sketches, I work on a “Custom Order” basis:
- You choose a sketch or concept you like.
- I create for you a full-fledged, completed work in a large format (canvas/oil or any material of your choice).
- You get the “breath” of that sketch, but in a luxurious, detailed, and high-quality execution, with or without framing in a moulding.
These small works remain in my portfolio as the beginning of a story, while your large painting becomes its finale.
For these works, the title is half the painting.
My painting does not exist without a title. The title is not a caption or an explanation. It enters into a necessary harmony with the image. The word may contradict what you see. It may clarify. It may turn the meaning upside down. But without it, the painting is silent; with it, it speaks.
Memorable Landscapes.
My practice is inseparably connected with travel and expeditions. I go to interesting, sometimes hard-to-reach locations, take photos, make drawings and studies from nature, and then based on these, I create paintings — a kind of “visual diary” of the places that inspire me. These works find their buyers at festivals, where I participate as an exhibitor, selling my works and receiving feedback through direct, live interaction. These are mainly landscapes of interesting places and locations.
Social Works.
I create social paintings that require thought. My painting is not a wall decoration. It does not soothe or entertain. It stops you. A viewer looking for something “beautiful” or “understandable” will walk past — and that’s fine. My painting begins at the moment when a person asks: “Why exactly this way?” and does not find a quick answer.
Why many works are “not for sale” right now?
What you see before you are my preparatory sketches. They are like a musician’s drafts or a designer’s roughs. They are valuable for their idea and dynamics, but they are NOT a finished product (like the final painting). Based on these sketches, I work on a “Custom Order” basis:
- You choose a sketch or concept you like.
- I create for you a full-fledged, completed work in a large format (canvas/oil or any material of your choice).
- You get the “breath” of that sketch, but in a luxurious, detailed, and high-quality execution, with or without framing in a moulding.
These small works remain in my portfolio as the beginning of a story, while your large painting becomes its finale.
For these works, the title is half the painting.
My painting does not exist without a title. The title is not a caption or an explanation. It enters into a necessary harmony with the image. The word may contradict what you see. It may clarify. It may turn the meaning upside down. But without it, the painting is silent; with it, it speaks.
Memorable Landscapes.
My practice is inseparably connected with travel and expeditions. I go to interesting, sometimes hard-to-reach locations, take photos, make drawings and studies from nature, and then based on these, I create paintings — a kind of “visual diary” of the places that inspire me. These works find their buyers at festivals, where I participate as an exhibitor, selling my works and receiving feedback through direct, live interaction. These are mainly landscapes of interesting places and locations.