ARTIST STATEMENT

My practice does not arise from observation or interpretation.

It appears in moments when I leave the familiar world behind and dive into another layer — one that is freer, carried by shifting currents of energy, deeper and more harmonious than ordinary reality. In that layer, structure is perceived not through thought but through direct experience.

I provoke these transitions deliberately: shifting my perception, sharpening sensory channels, seeking liminal points where the world loses its usual density.

Music, rhythm, movement, wave phenomena, trance states, lucid dreaming, natural anomalies, geomagnetic zones — these are not tools, but keys.

Beyond the veil, I encounter autonomous non-human structures — entities that cannot be reduced to archetype or psychology.

Their logic is nonlinear; their presence is tangible; their will is not rooted in emotion.

They do not originate in my imagination — they emerge at the intersections of layered realities, where perception ceases to be contained.

My task is not to invent them, but to allow them to manifest. 

My methods are as material as they are perceptual.

In painting I use intuitive, liminal techniques: entering a state where the image begins to surface on its own, and the hand records not a form but the movement of the entity. I work with vibrating textures, resonance of color, and field-found objects — artifacts collected during my research. I sculpt, burn, cut; the surface becomes an imprint of contact.

In photography I work with light and wave effects: long exposure, interference, caustics, double exposure, reflected and diffused fields of light. I shoot at twilight, at night, in fog — when the world’s boundaries weaken and crossing the veil becomes easier. 

I study anomalous zones in the same way I study internal shifts: working with geomagnetic maps, recording vibrations, infrasound, magnetic gradient fluctuations, and the body’s reactions to spatial irregularities.

My instruments range from cameras and field equipment to magnetic and acoustic sensors — and my own sensitivity.

Wave phenomena — light, acoustic, vibrational — allow me to literally see and hear the presence of another layer when it intersects with physical space.

But experiencing is not enough for me. I need to understand.

I study the mechanics of transition: why the veil thins, how it can be provoked, how perception reorganizes itself, and whether this process can be captured empirically — through data, instruments, physical measurement.

I feel anomalies in my body, but I want to prove them to the world.

My practice is a fusion of intuitive entry and investigative hunger, of art and field observation, of mystical experience and the desire for verification.

My works are not images and not merely objects.

They are portals — points of contact where reality ceases to be one-dimensional and begins to tremble, separate, and let the “other” through.

I do not control these processes — I live within them.

I do not seek to escape into another world.

I seek to understand the architecture of both:

the boundary, the mechanism of crossing, the moment when the fabric of reality grows transparent and another voice begins to speak.

My art is a dance at the threshold between worlds.