In my practice, I explore the interplay of conscious and subconscious perception, pattern recognition, and the therapeutic potential of art.

Through an intentionally minimalist and schematic visual language, I seek the threshold where abstract forms transform into figurative imagery within the viewer’s mind. By arranging geometric markers across the pictorial plane, I investigate the minimal amount of information required to trigger the subconscious creation of a painted space — a dialogue between the artwork and the viewer’s perception.

I prioritize the immediate, subjective experience of engaging with art, deliberately avoiding extraneous conceptual frameworks or symbolic layers that might interfere with pure visual perception. My goal is to offer the viewer a contemplative encounter — one where the work communicates solely through its visual essence. I approach art as a chain of communication: artist (subject) → physical artwork (object) → viewer (subject) — with the image itself as my primary medium.

To put it simply, I create visual works that function as "things-in-themselves": they do not represent, denote, symbolize, or metaphorize. My pieces remain untitled to resist textual interpretation, inviting the viewer into a singular role — that of a pure observer — where they may access a personal, sensory experience unmediated by language.

This insistence on art’s purely visual (and fundamentally primordial) function — as opposed to the text-dominated conceptualism prevalent in contemporary art — stems from my years of studying Eastern philosophy. In these traditions, direct sensory experience (sight, sound, smell, touch, taste) is elevated above indirect, descriptive (conceptual or symbolic) engagement with reality. This stands in contrast to Western philosophical approaches, which rely on abstraction as a primary tool to comprehend or define existence.

On a practical level, I am currently immersed in researching Old Russian icon painting. With over a decade of work rooted in Suprematism — the tradition that initially shaped my artistic style — I’ve come to recognize its profound connection to Byzantine visual codes, which heavily influenced the early 20th-century russian avant-garde. My current work integrates techniques from this tradition: its geometric rigor, metaphysical spatial constructs, and the transformative potential of the flat plane.