The series of landscapes is a kind of manifesto of my perception-based artistic agenda. I turn mainly to recognisable figurative images, deconstructing their role in contemporary visual culture, while endowing them with components of my own sensual experience.

Work with landscape is not a process of mechanical registration of visuality, but an ingenious and creative reinterpretation of reality, with duality, contradiction and integral rebalancing in the very nature. In the series of landscapes I express these motifs in a colour composition using contrasting colours. For example, the opposition of blue and red symbolises the opposition of feminine and masculine principles, calmness and strength, logic and intuition. Together such opposites create a harmonic union. In some paintings I use colours as symbolic codes, encryptions, transmitting my personal perception of the figurative prototype.

In some paintings I use colours as symbolic codes, encryptions, transmitting my personal perception of the figurative prototype.

In "November Forest" composition, for example, I integrated the colour of red viburnum, which represents fire, blood and life itself in traditional Eastern European culture.

In the Ukrainian cultural code, the tree stands for the human being while the tree roots symbolise the connection with native traditions. Red viburnum is a mother, roots are her heritage, flowers and fruits are her offspring. Red viburnum is a symbol of the Ukraine itself, a symbol of overcoming difficulties and trials, but also of continuing life against all odds. The color of thorn berries serves as a counterpoint to this motif. Within the symbolic framework of the image, these opposites refer to the experience of rebirth, which is preceded by pain and suffering.

landscapes in this series dedicated to the Ukrainian land are linked to each other by a deep philosophical and metaphorical context. The pictorial images represent my personal experience intertwined with cultural tradition, the experience of catching the fleeting moment, the middle state, the balance between the opposing states of nature.

The abstract landscape in my artistic practice is an in-depth documentation of my encounter with a moment that will never be repeated. Being an artist and an observer, I am in a permanent flux, which mirrors the rhythms of nature. What is important to me in these dynamics is the moment - fractions of seconds that contain the unpredictability, the singularity of the moment, life itself. It is this unique qualia of oscillation, the midpoint of movement that is valuable to me are these moments that can never be replayed, in which I see a metaphor for the twists and turns of fate. I see storylines everywhere, I come across them quite by chance. And it is precisely this particular encounter that I strive to capture in the language of abstraction. It is not an act of photographic fixation, but rather an experience of rethinking, of interpreting what I see.

I focused on the duality of the natural elements, in the transition from one state to another. I aim to capture the small gap between the opposites, unfolding the problematic of oscillation into a temporal logic. Capturing a moment located between reality and memory, an elusive impression is essential to me. In my abstract landscapes I seek to express this state of tension, the strain between oppositions, augmenting the correlation between memory and the real moment with the opposition of calm and anxiety, joy and sadness