Oh, my selective friend,

You are thought to be objective

And I admire your clarity,

honesty and generosity…

You whisper the stories 

I blindly absorb them,

And lose their silhouette in my memories or imagination...

And these,

Who will be after me?

Who will be also listening to your stories,

But not believing and



Neglecting them,

And after, 

Perhaps regretting not to be bewitched, 

By the clаrity, honesty and generosity of yours...













Part 1:

Part 2: the whisper of the light-sensitive grains.

Time, Its continuum, endlessness and the limits:



I have an unsolved question. I had addressed it to the universe -- to those who share their wisdom in the temples of knowledge, and those who neglect everything due to their immaturity, to my half-present cat and a latin-french dictionary -- until It became clear that 

This video is about the promises and the limitations, unsolved questions and unreceived answers:






When experiences collide with imagination, the layers of memories, internal dialogues, received statements merge into one dense flow of time and come as a whole visual and audial imprint.







Pixels: Orchestrated by the codes event








see more: #onehourinstallation



Digital flora and fauna:

#4682B4, #4c3e3b







  A single pixel, one dimensional matter:




Critical capacities of Glitch

"If they give you ruled paper, write the other way."

451 fahrenheit, Ray Bradberry 

As with many research institutions with a great mission, ARPA (Advanced Research Project Agency, US), which was responsible for a major breakthrough in national defence technologies during the 1960's, has its own legends, touted in a spirit of freedom and weirdness. The writer Stewart Brand has documented one such legend from the words of a former ARPA staff member, computer scientist Alan Kay. As Kay narrated: 

"...one of the guys wrote a program called 'The Unknown Glitch,' which at random intervals would wake up, print out I AM THE UNKNOWN GLITCH. CATCH ME IF YOU CAN, and then it would relocate itself somewhere else in core memory, set a clock interrupt, and go back to sleep. There was no way to find it." 

Although this event at ARPA was not claimed by any means as a work of art, this legend shows the coexistence of two central albeit contradictory modes of system engagement, represented by protocols: the reinforcement for maximum performance and error free operation, and the urge to breach the system's defence and challenge its efficiency. If the latter is an unavoidable part of our reality, which affects all spheres of our existence, the former confronts us and forces one to take a distant position, and to reflect upon our existence within unaltered systems, regulated by sophisticated algorithms. 

Such a duality can also be observed within digital cultures and, in particular,  Digital Art: for example, Ed Adkins, Bill Viola, Golan Levin, among others, employ technologies and contribute to the mystery and visual illusion of the digital world. Whereas Philip Stearn, Ant Scott, the art collective Judi, and Jon Satrom challenge to differing degrees the technical and logical limitations of digital technologies, locating alternative modes of application and thereby taking a distant position from the original intention of such technologies, which in turn proves to be a core, defining feature of their artistic strategy. Download full PDF



The most used word:









It was a time when the solitude was much more desired and appreciated. I was on my own, walking next to the wild ocean, in an area with no trace of human existence. No sounds or buildings, no plastic or concrete. The waves were hitting the sand, moving gravel and shells. I approached the massive rocks, which were interrupting the force of the wind. The colour and shapes of the stones which were cracking under my feet appeared different. Triggered by their variety, I began to collect them and study their odd shapes and structures. It took me some time to realise that they were fragments of ceramics, porcelain and coloured glass.  Some had residues of transparent glaze, some featured letters and others displayed a glimpse of decorative images… 

How beautifully Nature took back and dissolved these stiff, solid, the most archaic inventions of humans!

The following year, I returned to the same place with a pot of fingerprints made of baked white clay. This time the water was quiet and slowly approaching its highest point on the shore. The following hours, I observed how these fingerprints, arranged into the word EXISTENCE, disappeared with each gentle weave into the water.



Some milestones: 

2029, ‘Note to Self’, group show at Helena van Doeverenplantsoen, The Hague, The Netherlands

2019, ‘Today I Taste Tomorrow’, group show at Helena van Doeverenplantsoen, The Hague, The Netherlands;

2018-2020, ‘Philosophy Evenings’, studio events, Leiden, The Netherlands; 

2016-2019, guest tutor, Printmaking Department of Guangzhou Academy of Arts, China;

2016, ‘Born in Russia’, solo project,  Embassy Festival, The Hague, The Netherlands;

2015, ZomerExpo, group show, Hemeentemuseum, The Hague, The Netherlands;


Fine Arts Department, specialisation in Sculpture/3D, The Royal Academy of Art, The Hague;

Arts, Media and Society, Art History Department, The Leiden University, Leiden;

MA, Fine Arts Department, specialization in Digital Media, Moscow State Pedagogical University, Russia ;

Diploma, Fine Arts Department, specialisation in traditional painting, Herzen State Pedagogical University, Saint Petersburg, Russia;