ARTIST STATEMENT

My artistic practice mainly consists of attempting to create worlds in which the boundaries between the real and the imaginary fade away, opening the way to another reality, freed from all prejudice. Hybrid creatures and metaphorical landscapes become guides to these dimensions, reflecting the complexity of human identity and allowing the viewer to come into contact with their own inner myth.

My artistic research is based on a personal and extremely intimate question: the experience of solitude that has accompanied me since childhood, after the death of my parents. The feeling of stupor and incomprehension rooted in my body continues to transform, manifesting itself in my practice in the form of fragile and magical beings and complex, almost dreamlike worlds. It is important for me to understand how this early isolation shaped my sensitivity and my acute receptiveness to the emotions of others.

During my six years of study at the Moscow Academy of Arts and Design until 2022, I explored traditional and contemporary techniques: mosaics, fresco painting, icon painting, and the reproduction of masterpieces from the Renaissance to the twentieth century. This training allowed me to acquire deep technical mastery and a strong sensitivity to monumental forms, which I integrate into my current pictorial research.

Since 2022, my artistic practice has explored the tradition of portraiture, first and foremost that of the icon, as well as the question of the representation of the body, of the Other, even when it appears in many aspects as chimerical.

Duality is always present in my works. It allows me to represent the incompleteness and complexity of the images with which I work—an iconography nourished by sources ranging from Miyazaki’s animated films to the paintings and drawings of Goya, Piero della Francesca, the graphic energy of William Blake, and, why not, the madness of the hybrid compositions of certain paintings by George Condo. This is not a matter of collage but of a visual synthesis formed through a homogeneous pictorial language that I paint in diffuse layers.
I deliberately fill the space with visual noise, in search of a sensation of ambiguous emptiness, as if to create silence, a bubble, a safe space within a moving landscape. The notion of a quest, mystical or real, animates the depth of the painting.
Here, personal trauma is overcome or transformed into a means of speaking in a shared way—first of all without shame, with the freedom of polychromy, with light, and also, I hope, with a new form of human intimacy, or rather a closeness to the living, to which the pictorial frontality that I propose in the composition of my portrait paintings may bear witness.