MA at Kingston University, London
MA at Kingston University, London
Vladimir‘s
Forgive me, father
September 2026
is a glimpse into the world of worship.
A colossal, dark, spider-limbed entity with a distended belly sprawls across a bleeding sky, planted into the earth like architecture. Below, small, exposed human figures climb a muddy slope, reaching desperately towards it and falling into submission. The sky splits into radiating, red bands, wound-like and flowing as an aura. The figure remains indifferent, enormous and absolutely accepted.
The work explores the relationship between power and submission, faith and indifference, asking why we are drawn to forces capable of overwhelming us, and how domination can coexist with fascination, dependence and reverence. Saturated, hard-edged oil paint gives the scene the flatness of an icon.
A colossal, dark, spider-limbed entity with a distended belly sprawls across a bleeding sky, planted into the earth like architecture. Below, small, exposed human figures climb a muddy slope, reaching desperately towards it and falling into submission. The sky splits into radiating, red bands, wound-like and flowing as an aura. The figure remains indifferent, enormous and absolutely accepted.
The work explores the relationship between power and submission, faith and indifference, asking why we are drawn to forces capable of overwhelming us, and how domination can coexist with fascination, dependence and reverence. Saturated, hard-edged oil paint gives the scene the flatness of an icon.
Apprentice
August 2026
One scene. Two accounts of it.
This artwork depicts two figures stand in an open wind-swept landscape. One is bare and raw, exposed to the elements. The other is distant and watchful. This is a moment caught between vulnerability and detachment, reflecting the dichotomy between inward- and outward-looking states of thought.
Both figures are simultaneously young and mature, teaching and learning from one another. The surrounding landscape mirrors their connection to the world, a connection that inevitably grows thinner with age.
Both figures are simultaneously young and mature, teaching and learning from one another. The surrounding landscape mirrors their connection to the world, a connection that inevitably grows thinner with age.
Witness
May 2026
The lamb looks up. The sun looks elsewhere.
A solitary figure stands on a hillside before a monumental sun rendered as a human face, its gaze fixed elsewhere. Combining magical realism, surrealism and a poster-like visual language, the work examines the oldest imbalance there is: of vulnerability and power.
The use of near-universal symbols removes the scene from any specific culture or era, and evokes a very human condition: the desire to be seen and protected by something distant and indifferent.
The paint was applied in broad, loaded strokes, edging at times toward almost impressionism. The texture is deliberate: roughness and weight compensating for the physical modesty of the canvas, giving the work a monumental presence.
Daydream
February 2026
She is drawn to the light like a moth, almost instinctively, without clear intention or control.
Daydream shows a moment when attention slips away from the outside world and turns inward. Light plays a key role here, distracting, gently pulling the mind toward escapism and away from reality. It’s a quiet, familiar state of drifting. Thoughts take over, time slows, and the world becomes less sharp for a while.
This painting was developed through a combination of live posing and photographic reference, allowing the moment to be fleeting and suspended, as if caught between movement and stillness. The image aims to suggest something fast and ever-changing paradoxically frozen in time.
The work was executed using thin, diluted strokes with minimal layering and a limited colour palette to create a sense of warmth and intimacy. This fragility of the paint surface mirrors the dream state itself, fluid and easily disrupted.
Parasomnia
November 2025
Caught in a few seconds that feel impossibly long.
The figure sinks into the shroud of bedsheets, drifting through a moment where time itself refuses to move. The piece conveys the tension, vulnerability and surreal clarity of sleep paralysis. A state in which awareness returns, but the world remains motionless.
The artwork was created in a single sitting using only two pencils and a sheet of wet-paint paper. This specific paper was chosen for its pronounced texture, which introduces a subtle grain-like quality to the surface and further amplifies the sense of unease within the image. I worked exclusively with 2B and 4B pencils, aiming for a restrained but expressive range of tonal contrasts.
Farewell, losers
May 2026
Jealousy, longing and self-pity: the last emotions left on Earth.
Farewell, losers is a series of two digital works set at the end of the world.
The first follows a scarab pushing a one-eyed sphere across an endless desert. The sphere is human: stripped by evolution of limbs, voice and agency, left only with the capacity to witness and feel sorry for itself. Above the horizon flies a meteor or an escape vessel. The sphere sheds a tear of abandonment.
The second painting is an interior. A firefly-scarab peers into dark water, wings spread, body pressed against the surface. His own glow is the only light. What looks back is small and burning — horned, transformed, furious with possibility. About to leave. He knows the horn will never grow, but he’s still looking.
Both works are made entirely in vector, drawing on the visual language of engraving, collage and book illustration, nostalgic in tone, though the world they depict hasn’t happened yet.
I tell self-contained stories about unequal worlds. Working across traditional and digital painting, I keep returning to moments someone made small by facing something too big to face. A political system, a crowd, a landscape. Sometimes it is another person, sometimes nature itself.
I use magical realism and altered scale to make that imbalance visible and physical. What interests me is the space between power and vulnerability, when the distinction between them begins to blur, and what such encounters do to a person. My works share my fascination with the subtle absurdity of this reality, its hidden magic and latent horrors.
I use magical realism and altered scale to make that imbalance visible and physical. What interests me is the space between power and vulnerability, when the distinction between them begins to blur, and what such encounters do to a person. My works share my fascination with the subtle absurdity of this reality, its hidden magic and latent horrors.
Beecher’s Gallery
AUTUMN
United Kingdom, Ross-on-Wye
2026
Candid Gallery
OCFA26
United Kingdom, London§
2026
Gallery North
FLOCK
United Kingdom, Hailsham
2026
Fuck Work Gallery
Russia, Moscow
2026
CICA Museum
Breath
South Korea, Gimpo-si
2026
POSK Centre
Gardens Of Life
UK, London
2025
Higher School Of Economics, Design and Media BFA
Russia, Moscow
2019
School Of Visual Arts,
Computer Arts MFA
US, New York
2021
Kingston University,
Filmmaking MA
UK, London
2025