I describe my practice as a field of experiment — a terrain where I observe how form and line resonate with society at large and with each individual viewer.
I work with two primal elements: shape (in the language of bas‑relief) and stain‑line (in drawing).

Shape
At the moment this takes the guise of a street bas‑relief of the Olympic Bear: a Soviet icon undergoing rebranding through the lens of street art, writing a fresh “=” between past and present.

Stain / Line
I draw intuitively, without sketches, guided only by the rudiments of composition — angle, the dialogue of black and white, proportion. From this I spin an endless abstract pattern that “means nothing” and therefore bears a zero root of translation: within any context the motif mimics its surroundings, while in a vacuum the mind reads it as the handmade trace of a civilisation that never existed.

I stage a training ground for perception, where the image recasts reality as a game of possibility.

Line, colour, figure—scalpels that sever the automatic bond between object and meaning—leave only contingency and play.

Reality is never bestowed; it is rebuilt each instant by our own fears and expectations. A body with two eyes cannot claim a whole.

I turn that very limitation into a playground. Play is courage, not naïveté. Absurd characters, unruly lines and over‑bright hues become instruments of release.
Here gravity dissolves into lightness; the mask discloses, not hides. Child‑logic rules: fear no game, for all is transient.