Artist Statement: Collage

In my practice, I work with found fragments of visual culture—from the graphics of skyscrapers and tangled wires to synthetic textures and mass-produced ornaments. This source material is subjected to deliberate intervention: it is crossed out, muted, and reassembled with the intrusion of color glitch-stripes and abstract noise. The gesture of the glitch becomes the primary statement, capturing a state of digital anxiety in which every image is unstable and the perception of the city is distorted by interference—as if the very fabric of the metropolis resists clear reading

Artist Statement: Glitch Art

My glitch practice operates in two modes: the found and the made.

In series like Random Errors (2011–) and Distorted Future (2025), the glitch is encountered, not created. I act as a witness, documenting spontaneous ruptures in the digital surface—computer malfunctions, camera errors, corrupted files, or promotional images already broken before I arrived. These works are documents of instability, evidence that the error is already inside the system.

In my video installations, the glitch becomes a deliberate gesture. Here, I intervene—introducing disruptions, corrupting the image, using the error as a compositional tool. In works such as Nonlinear Chromatic Integration, which explores the relationship between emotional memories and changing circumstances and was shown at The Wrong Biennale nº5 (2021/2022), and Retweet/Retreat — a video installation filled with randomly generated symbols, jpegs, and gifs, exhibited at The Man-Machine show at “Na Kashirke” Art Gallery, Moscow (2020)—the glitch is no longer an accident I stumble upon, but a language I speak. It mirrors the constant stream of messages, images, and words that defines our present, and the emotional instability that accompanies it.

Across both approaches, the glitch remains a revelation: it cracks the smooth surface and exposes the fragility beneath—whether I find the crack or make it myself.

Artist Statement: Abstract Painting

My work with abstraction is an investigation of color as an independent force. For the past ten years, I have been creating multilayered compositions in acrylic on paper, where patches of color collide, overlap, and become overgrown with textured lines and stripes.

At the heart of each work lies a conflict or dialogue between two dominant color masses. They establish the tension of the surface, and the subsequent layers—lines, strokes, spots—act as an intervention into this primary structure. This is how depth is born: a space in which the viewer can move endlessly, discovering new relationships and rhythms.

For me, painting is not a spontaneous gesture but a slow, almost laboratory-like inquiry. First, I accumulate visual material: color tests, textural experiments, observations of how paint behaves on paper. Then comes the process itself – hours of layering, waiting for drying, returning to what has already been done. This is labor invisible to the viewer, resulting in a surface that holds the traces of decisions made and options rejected.

Texture is as important to me as color. The roughness of paper, the density of acrylic, the marks of a brush or palette knife—all of this becomes part of the visual statement. My abstractions do not depict the world; they create their own space, where the viewer encounters the pure emotion of color and the silent materiality of the painted surface.

Artist Statement: Sound Art

My sound practice is a field study of the urbanized landscape through its acoustics. Using field recordings, I capture the moment when the natural sound environment yields to the pressure of technogenic noise. Birdsong, the rustle of wind, silence—all of this becomes a vanishing background, overlaid with the roar of engines, the hum of construction sites, and the electric drone of the metropolis.

My focus is not on recording itself, but on the act of listening as a means of bearing witness. Each field recording is a document of a specific time and place, where the conflict between the natural and the artificial unfolds with varying degrees of drama. Sometimes technogenic noise completely consumes the organic, leaving only a dull, monotonous landscape. At other times, nature still breaks through, but only as a faint, intermittent signal.

I do not intervene in the recorded material. Preserving the documentary honesty of the moment is essential to me. The layering itself—natural and technogenic—creates a natural dramaturgy, where dissonance becomes the compositional principle.

For me, sound art is a continuation of the same theme of hyper-urbanization that runs through my collages, but translated into the register of hearing. If the visual works show the post-apocalyptic city as an image, the sound works let you hear how that city sounds right now: loud, relentless, drowning out everything living.

Artist Statement: Video Art

My abstract videos are an extension of my painting practice into the moving image. Color waves, interweaving lines, and layered textures migrate from paper to screen, acquiring a new dimension: time. I assemble these works frame by frame, often using gifs and digital glitches as part of the visual language.

Here, the glitch is not an error but a texture—another layer in a multilayered composition. It functions like a textured stripe in a painting or a color block in a collage: it disrupts the flow, creates tension, and prevents the image from settling into comfortable clarity.

These videos exist on the border between Abstract Expressionism and digital flicker. They do not tell a story; they create a state—meditative and anxious at once, like gazing into the depth of a color field that is constantly shifting.