From my solo show " THE BIRDS DON'T SING, THEY SCREECH IN DESPAIR "

PINK ELEPHANT

This piece is part of a series called "Skin". I am thinking about skin and how it’s a boundary between humans and our environment. The organic delicate paper forms a skin-like surface while the hard structures relate to architecture or the skeleton. An interesting tension is created when the soft paper hugs the hard form. I try to combine hard and soft elements into much of my work as this duality is present everywhere including our bodies, and our physical surroundings, both of which are areas of fascination for me.

Gatherer

_“Ɔhɔhoɔ, II”_ (Stranger, II) explores themes of displacement, alienation, and identity through the vibrant interplay of color, pattern, and form. Rendered in oil pastel on Dutch wax print fabric, the work blends abstract and figurative elements, reflecting the character of Ɔhɔhoɔ as both an outsider and a mirror of personal and collective experiences. The juxtaposition of traditional wax prints with bold, modern imagery highlights the tension between cultural hybridity and individuality, inviting viewers to interpret their own connections to the work’s layered narrative.

  

Ɔhɔhoɔ, II

From the Tatarstan Series. A self-portrait from the Republic of Tatarstan. A fantasy landscape of flowers springs from a pooling rainwater. What I wished my reality to be.

  
The umbrella carries many meanings throughout Asia. There are martial arts forms that use the umbrella for defense. The parasol is one of the eight sacred symbols of the Ashtamangala. In this painting, the umbrella evokes all the protections and wards off evil.

  
2014 marked my first trip to Vitaliy's mother in Tatarstan. The Maiden Revolution had just disrupted Yanukovych 's government in the Ukraine. Russia annexed the Crimean Peninsula after invading it. I was frequently mistaken for a Ukrainian refugee at this time. Vitaliy forbade me to speak English in public.

  
2014 was also the year of the Umbrella Movement in Hong Kong. How far will passive resistance take us? In this self-portrait, I carry my yellow umbrella, my safe house. My imagination creates the flowers that bloom, as walk through a colorful landscape of my own creation. The existing reality was grey.

With my Yellow Umbrella

A diptych made during the first peak of the Covid-19 pendemia, while both of my daughters were claiming, spaces and lots of attention. To me that work still looked unfinished, but showed it anyway in my last solo show, called CONFINITUDES, that took place in a Montreal temporary gallery, from october 2022 'till february 2023.

Vacarme innachevé

Wind Fall

Created while reflecting on the upcoming Year of the Water Rabbit (2023), this piece was both celebrating and honoring the sexagenary cycle of the Chinese Zodiac. Featuring a white rabbit falling or diving into a body of water. 2023 was a Black Rabbit year, meaning a yin year. Discarding the obvious references, color in this artwork is playful, naive, untethered and mysterious.

  
A yellow sphere in the background can represent both a sun or a moon, alluding to both yin and yang. The rabbit is often associated with the moon in Asia. A Jade Rabbit resides on the moon with Chang'E, the Chinese Moon Goddess. The rabbit's green ears pay homage to this beast, without explicitly depicting the Moon Rabbit who pounds out the elixir of life. The rabbit's usual grace is also discarded. Collapsing into the unknown is the tenor of the time.

Rabbit Year

This work is about disinformation, media bias and AI-generated content. The media can create 'news' not based on the event itself, but by filtering and shaping reality. When media aim for clickbait and sensationalism, they may prioritise information that provokes strong emotions or controversy, often at the expense of accuracy or nuance. The way we perceive the world depends on the maps that are drawn for us.

Attention is All You Need

Welded Scrap Metal Heels

This painting is a simplified, childlike figure sitting criss-cross-apple-sauce. The figure is enraptured with what it is looking at, almost begging the viewer to join in its rapture. The muted peach and orange tones are meant to evoke child-like innocence and surrender. The head is a rectangular box in light orange with simple features: two small circles for eyes and small teeth for a mouth. The head is missing its lower jaw, it is no longer needed. The body is a rounded shape with X's for nipples and an oval for a navel. The short, stubby arms end in hand-like shapes with orange accents for fingernails, while the toenails are similarly simple, with orange accents.

The style is naive, with no detailed perspective or realistic anatomy. It is meant to feel innocent and simple, reminiscent of childhood and saturday morning cartoons in front of the box setup. The background is a blend of orange and pale yellow and off-white, to create a peaceful atmosphere. The edges are slightly distressed, with orange paint spilling onto the frame. 

  
The overall mood is meant to be quiet and reflective, evoking a serene, slightly melancholic stillness.

I'm OK With My Hermitage in Autumn

Photograph of Prunus serrulata (Cherry Blossoms) exploding in radiant pink against a soft spring sky. A celebration of renewal and the ephemeral brilliance of a blossoming season.

  

Supernova

A tribute to Andy Warhol’s iconic work, 'Sunk Soup' reimagines the classic Campbell’s can in diverse locations with warm, gritty tones.

Warhol’s pop art challenged perceptions of consumer culture, and this collection expands on that legacy within a punk-infused anime world, reflecting the cyclical nature of human culture.

Young people interact with this beloved classic, blending nostalgia with a contemporary expression.

The choice of punk aesthetics serves as a visual exploration of the intersections between pop culture and subculture.

Created through artificial intelligence, these still-life vignettes evoke intimacy and familiarity, offering a fresh perspective on modern art through evolving technology and cultural history.

Sunk Soup

_The painting Auras captures invisible energies pulsating in space._

  
Three layers, canvas, PVC with cutout, mesh and LED tube.

Auras

‘Into the Sunset’ is like a memory of a distant shore, with shapes rising like sails beneath a deep red sun. Waves curve softly, carrying whispers of something ancient and calm. Feathered forms stretch upward, and the colors—muted blues, earthy reds—feel weathered, as if touched by time. An archway and staircase linger in shadow, hinting at a journey. Teardrop shapes fall gently, like seeds or rain. This painting holds a quiet serenity, an invitation to drift and listen to its story.

INTO THE SUNSET 

The topic of my work „LOCATION 1&2“ describes the chair as a placeholder for our human existence.

  
I have consciously worked with an empty space, with the lack of human presence, and the destruction of the chair as a seat and possibility of location.

Add

Artists