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I've had quite a lot of time to reflect on the artistic field I've chosen.
I’ve worked with graphics, painting, searching for my own character, my form of storytelling, my language, my style—something that would truly reflect the content. These explorations led me to co-found the Collapse art group with my friends. We worked using a method of simultaneous painting on a single canvas, passing it between us—a technique a friend introduced me to back in my university years.
This process was emotional, intuitive, and not overly complex in structure. At the same time, it was high-level, because it reflected the character, temperament, and philosophy of the artist as an individual.
To engage in this means to be in it. The act of creation is not the goal, but rather a byproduct—something tangible that can be taken away, a piece of the artist that someone can keep, like a grotesque creature behind glass, twisting and speaking in elaborate words about things that, in the end, are quite ordinary.
I realized that my path is to create imaginary worlds and fill them with characters, who, through their stories, convey my thoughts, emotions, and philosophy. It’s not just about telling stories but constructing them, designing realities in which the viewer can move, explore, and experience.
Myth constructor. Creator of fictional worlds. Narrative architect.
At the same time, it’s important to understand that I am impulsive, chaotic, and my perspectives, my methods, my entire paradigm are constantly shifting. I could wake up one day and find myself drawn back to serial graphics or something else I had already left behind. That’s possible.
But I hope not. I want to believe that my path is not about returning to what’s already been, but about shedding the unnecessary, stripping away the excess, refining, focusing, moving toward what truly matters—toward what I am meant to do.
Right now, my most important project is "Violence". It’s in active development, and I’m deeply immersed in it. It’s not just about building a universe, creating characters, and developing a language—it’s also about stepping into an interactive format, into virtual cinema. It’s a chance to kill two birds with one stone: to create my world and enter the field of cinema. It’s an ambitious project, and I hope to see it through to completion.
At the same time, "Fish" remains a key project for me, and I fully intend to keep working on it. It’s laid out page by page, structured on my flipchart, holding its place as second in line after "Violence". But right now, it’s time for "Violence"—it demands full concentration.
I’ve worked with graphics, painting, searching for my own character, my form of storytelling, my language, my style—something that would truly reflect the content. These explorations led me to co-found the Collapse art group with my friends. We worked using a method of simultaneous painting on a single canvas, passing it between us—a technique a friend introduced me to back in my university years.
This process was emotional, intuitive, and not overly complex in structure. At the same time, it was high-level, because it reflected the character, temperament, and philosophy of the artist as an individual.
To engage in this means to be in it. The act of creation is not the goal, but rather a byproduct—something tangible that can be taken away, a piece of the artist that someone can keep, like a grotesque creature behind glass, twisting and speaking in elaborate words about things that, in the end, are quite ordinary.
I realized that my path is to create imaginary worlds and fill them with characters, who, through their stories, convey my thoughts, emotions, and philosophy. It’s not just about telling stories but constructing them, designing realities in which the viewer can move, explore, and experience.
Myth constructor. Creator of fictional worlds. Narrative architect.
At the same time, it’s important to understand that I am impulsive, chaotic, and my perspectives, my methods, my entire paradigm are constantly shifting. I could wake up one day and find myself drawn back to serial graphics or something else I had already left behind. That’s possible.
But I hope not. I want to believe that my path is not about returning to what’s already been, but about shedding the unnecessary, stripping away the excess, refining, focusing, moving toward what truly matters—toward what I am meant to do.
Right now, my most important project is "Violence". It’s in active development, and I’m deeply immersed in it. It’s not just about building a universe, creating characters, and developing a language—it’s also about stepping into an interactive format, into virtual cinema. It’s a chance to kill two birds with one stone: to create my world and enter the field of cinema. It’s an ambitious project, and I hope to see it through to completion.
At the same time, "Fish" remains a key project for me, and I fully intend to keep working on it. It’s laid out page by page, structured on my flipchart, holding its place as second in line after "Violence". But right now, it’s time for "Violence"—it demands full concentration.
