My new album consists of images of the sea surface, reduced to a composition without shore or horizon. On the one hand, this is my conscious rejection of accompanying signs and symbols that generate an excessive sea of interpretations, a way to resist the riot of narratives and the revelry of images. The painting either overwhelms the viewer with a condensed individuality or draws them into the rarefied surface of the sea. On the other hand, it is a desire to merge the surface of the canvas with the understandable and explicable surface of the sea.
Soot and Clay is the recursive self-designation of my works. It is a return of shimmering allegories to the space of truthful materiality. Soot and clay are the proto-elements from which everything is created and what humanity stubbornly transforms our paradise corner of the universe into. And what is destined for man – a handful of ash and a mound of clay. For me, it's also a naive attempt to transform soot and clay into a sea surface through geometry and alchemy.
The central work, the fresco "A Million Reasons," is inspired by the desire to transcend objectivity and materiality. It's something that can't be carried away. This work is not for one, but for everyone.
