My work takes shape in paintings and wall sculptures where matter, light and layering build dynamic, three-dimensional surfaces. Working with geometric composition, circular forms and layers of plexiglass, I make pieces that shift with changing light and viewpoint — revealing a movement that belongs not to the material itself, but to perception. What draws me is the relationship between stillness and motion, between what is visible and what stays hidden: translating emotion, energy and inner states into forms able to trigger a genuinely perceptual experience.

My practice is built on a language that weaves together matter, light and layering. A mixed heritage and a childhood spent along the Silk Road — where geometry and spirituality meet, from Tashkent to Moscow to Rome — shape a body of work in which geometric rigour and a spiritual dimension find common ground. My training in Soviet classical dance stays with me as a memory held in gesture: a discipline of the body that now shapes how I construct space, rhythm and the relationships between materials. Textured painting, layered plexiglass, metal leaf and passages of action painting coexist within a process that leaves light to complete the work — making it changeable, perceptually unstable.

The white gloves I wear through every stage of making are a gesture of care toward what I consider the most precious material of all: emotion.

My work is driven by the conviction that art can expand what perception is capable of. Through its dialogue with light and space, each piece builds a shifting relationship with its surroundings, resisting any single, fixed reading. I want my work to keep its meaning open — able to renew itself at every encounter, and to suggest that what we see depends as much on matter as on the gaze that meets it.