There is no doubt that the fabric of the world is imperfect and lacks a unified canvas. It is composed of numerous layers that interact with one another, constantly shifting, degrading, and accumulating anew. The world stratifies into different eras and places, retaining in its layers the memory of movement and state change.
The world created by humans, in particular, is highly stratified. Assuming the role of creator, human beings—with their inherent inexperience—layer and de-layer the world around them. They construct layered cities and layered informational spaces, endlessly superimposing physical and non-physical strata onto themselves and their surroundings. These layers are incapable of coexisting, causing them to perpetually peel apart and fall away.
«Layered Landscape» is a series of paintings based on the concept of stratification as a characteristic of contemporary reality and an attempt to grasp and assert it.
The series consists of twelve pieces, divided into three mini-series. The mini-series «Naturmorts with Stratification» examines the oversaturation of the human domestic environment, which tends to burst and delaminate from the sheer quantity of physical objects and their contexts. Attempts to establish even the simplest form result in failure: the object stratifies and multiplies right during the work in progress.
From a series of layered still lifes. Bottles are layered, vases are layered, mugs are layered! Craft, acrylic, tape, pencil, charcoal. 2026
Works are executed on craft paper or cardboard that lacks any initial base layer (such as the white coating on bleached paper); these materials are then primed, covered with tape, paint, and colored pencils in multiple, heterogeneous layers.
«I am peeling apart.» 42×59. Kraft paper, painter’s tape, acrylic, watercolor pencils, charcoal. 2026
«The City Stratifies"—the main mini-series that explores stratification as the foundation of the modern urban landscape. The series pays special attention to the fragile presence of humanity within this perpetually layered world.
«Layered City» Series. 42×59. Kraft paper, painter’s tape, acrylic, watercolor pencils, charcoal, 2026.
When creating the canvases, I ripped craft paper to achieve uneven edges. This effect was amplified by priming with white paint—the pigment is uneven, allowing the initial layer of craft paper to show through.
Slipping Hands / Slipping Toy Cars. 40×40. Kraft paper, acrylic, painter’s tape, watercolor pencils, charcoal. 2026
For one piece, a tape layer that has been removed from another can be used, thereby unifying all the paintings with consistent layer pieces.
Series «The City Layers.» 42×59. Kraft paper, painter’s tape, acrylic, watercolor pencils, charcoal, 2026.
The «Stratification» series is executed on cardboard, initially covered entirely in tape as a preparatory layer, and then repeatedly layered and deconstructed. In these works, the layers themselves are prioritized over the image, rendering them non-figurative and more abstract.
«Layering.» Card series covered in tape. 2026
Special attention in the work is dedicated to non-physical layers—traces of objects changing their position in space. The principle used to manifest such layers is similar to the principle used to reveal the animated phases of motion.
«The City in Layers» Series. 42×120. Kraft paper, painter’s tape, acrylic, watercolor pencil, charcoal, 2026.
«City Stratification» Series. Craft paper, tape, acrylic, pencil, charcoal, 2026. Fragments
Series: «The Layered City.» 21×29 cm. Craft paper, painter’s tape, acrylic, watercolor pencil, charcoal, 2026.
By placing landscape cross-sections and everyday occurrences onto the canvas, I attempt to assert and fix them, but they begin to stratify even during the process, breaking apart along with pieces of tape and revealing new layers. Combined with the relatively small scale of the works and their method of mounting, the exhibition itself becomes a layer covered with numerous small accumulations and peelings.
