I was born and work in Moscow. My path to painting was winding. Although I studied painting and drawing from childhood, attended artists' workshops, and prepared to enter the Stroganov Academy of Fine Arts, at the last moment my intuition told me to enroll in the history and philology department of the Russian State University for the Humanities. I am very grateful to my non-artistic education, as it helps me understand art, history, penetrate deeper into meanings, see parallels and connections where they are not obvious, and generally distinguish art from a creative product. I tried myself in different fields — from journalism to sports, but I was never able to get away from painting. So, after wandering around searching for myself in various fields, I returned to what I had fled from — painting. My main activity for over ten years has been being an artist. I regularly participate in exhibitions and art fairs, constantly developing my professional skills, seeking new meanings and ways to express them.

The idea for this series of paintings came from an incident. I was riding the subway, and a man was sitting across from me with bags containing groceries for his family. Next to him sat another man, riding with his young son, who he was very protective of. And I thought, "How wonderful these men are!". And then I wondered if women had been in their place, would I have been so impressed? A woman with groceries and a woman with a child. No, that's ordinary; I wouldn't have even noticed. And then I became very annoyed that I felt so differently about the same actions depending on who was doing them, a man or a woman.
And so I decided to paint a series of paintings about men. Completely ordinary men, busy with ordinary everyday life... traditionally considered the domain of women. After all, we still accept that arranging the family's clothes, planning their meals, making doctor's appointments, taking the children for walks, keeping track of club schedules, and vaccination schedules—all of this is the woman's responsibility. And when we see a man doing something from this list, we admire him. In working on a series of paintings on this theme, I don't want to devalue men; I want to normalize their participation in everyday life.
It's not admirable, but it's normal for a man to walk with a stroller not only on weekends, it's normal to wash the dishes for the whole family, it's normal to know which doctor's appointment to make the child and when, to remember birthday dates, to know the names of your children's friends, etc.
On the other hand, I wanted to paint these seemingly ordinary men, draw attention to them, and explore their appeal. Figurative painting features many beautiful women, including body-positive ones, while men are painted less frequently and are generally heroic. But life is made up of just such ordinary men.

The woman in this series of paintings is not a capricious rose with pathetic thorns from The Little Prince, but a cat that always lands on all fours; she can be the embodiment of tenderness, despite the fact that she is an ideal predator, able to achieve her goal. Being close to her is a blessing worth cherishing. It's warm, safe, and pleasant to be around her. But don't test her boundaries; she's a predator, after all. And her kindness to you isn't weakness, but a vote of confidence.

The color conveys the emotional state of the characters. The delicate shade of blue—light, yet with a hint of sadness—suggests discord, yet offers hope for a happy ending. Part of the paintings has ironic character.

In philosophy, the theory of property dualism posits that the world consists of two fundamental entities: mind and matter. Dualism creates a clash between the physical and the mental, and poses the question: what are the causal relationships? Does the physical determine mental processes, or vice versa?
The paintings in this series combine two spaces—external and internal. Thus, the nonlinearity of time and space in the surrounding world and a person's inner feelings are revealed. The inner state changes depending on the mood and influence of the people and events around us.
It may differ greatly from the external environment, misaligning with it, or resonating with the outside world in unexpected ways.

About the unity of man and nature: man as a part of nature, nature responding to human existence, preserving memory. Each painting contains an additional artistic layer: another reality, the hidden life of objects and their history. Images from the lives and myths of humanity are frozen in water, tree leaves, bark, and roots. Paintings can be perceived on different levels: as simply realistic, or read like a book, searching for and examining images that form a narrative. Just as in childhood, looking at clouds, we saw different shapes in them, and the pattern on our grandmother's rug formed a circle of natives performing strange dances.

In psychology there is the concept of Golden Shadow — these are qualities, talents, and characteristics that we admire in others, and the seeds of which are hidden in ourselves. On the one hand, the Golden Shadow mechanism hides these traits from us in order to shield us from responsibility. And on the other hand, a person passionately desires to possess the character traits that he sees in others and that resonate in his soul. Knowing about the Golden Shadow effect, everyone can discover in themselves the necessary data for self-realization and begin to develop. Recognizing the best in oneself, realizing the possession of qualities that deserve admiration, a person becomes kinder and more generous. Seeing the good in oneself, one performs actions from the position of a worthy person, thus changing the world for the better.

This series of paintings arose from observations of the state and changes of water, air, sand and light.

The absence of a background helps focus attention on the subject. The subject is captured in a moment, where it's crucial to capture their character, a detail that will reveal the entire image.

I am working with the concepts of time and space. These two concepts are inextricably linked, but do we understand them correctly? More precisely, why do our understanding of time and space diverge from our experience of them?
Delving into quantum physics and superposition theory is difficult and boring for most people. I propose to explain complex concepts in simple terms. My visual language is accessible to any viewer. Recognisable, quite everyday images are grouped into separate layers of images in order to combine these layers from different spheres in one picture. With this technique, the viewer intuitively experiences the existence of one particle (the self) in two states at the same time. Through the difference of the physical and the emotional. The images in my paintings activate the viewer’s personal memories, evoke associative series and fine-tune their perception of time, emotions and states.
My theory is that everything happens everywhere and at the same time. And the best way for me to show this is through surrealism and the magical realism that came out of it.
Besides, I don’t limit myself to any framework: I don’t stick to a certain style, I don’t follow popular trends, I don’t paint in a certain size, etc. I trust myself as an artist and I trust myself as a painter. I trust myself as an artist and follow my intuition: I paint in small series, I can easily change subjects, I like miniatures and realism. I am sure that only by listening to myself can I grasp the global changes of time. After all, I am a small part of a boundless universe.