KATYA MERGER
ARTIST
KATYA MERGER
ARTIST
I am exploring the phenomenon of interconnectedness and permeability
My central question is: “How is everything connected, even when it seems separate?”
It is important for me not only to articulate these interconnections but also to experience them through tactile, ritualistic, and artistic gestures that create new ways of perception.
I come from Zabaikalye. My Buryat and Roma roots have shaped the foundation of my practice, instilling in me a sensitivity to moments of transition and shamanic notions of nature’s agency. I create situations where the ordinary becomes sacred, and the relationships between science and intuition, human and environment, personal and external, interweave. For me, the world is not a collection of separate elements but a living network of processes and interactions.
In Voices of the Roots, I engage with the history of timber rafting, transforming the study of lost forests into a ritualistic sonic experience of interconnectedness. In the project Honorary Citizen of the Forest, I acknowledge the agency of trees, seeking to redefine their role in collective consciousness and show how the familiar can be reimagined by shifting perspective. In my glass sculptures, I explore the tense space between care and control—fragile forms made of laboratory glass and wool become an image of the anxious connection with the Earth, where every act of observation can become an intervention.
From 2018 to 2024, I successfully worked as a botanical illustrator, participating in exhibitions at museums and galleries in Moscow. However, after my son’s serious illness and confronting my own mortality, I reevaluated my relationship with life and art. I began creating abstract works, installations, and performances, which led me to enroll in the Bakshtein Institute of Contemporary Art, where I continue my studies.
Now, I live and work in Moscow. Despite my age, I feel like a young, emerging contemporary artist and am eager to realize many new projects.
Education:
2024–2026 Bakshtein Institute of Contemporary Art, Moscow
2010–2012 Institute of Art Restoration, Architect-Restorer, Moscow
Selected Group Exhibitions:
2025 – Water Level, Gridchinhall Gallery, curated by Maria Shubina, Moscow
2025 – Non-Indifferent Nature, CCI Fabrika, curated by Stanislav Shuripa, Moscow
2025 – Cycles and Spirals, Barn Gallery, curated by Denis Baenko and Naya Pikun, Kaliningrad
2025 – Hunt, Izmailovsky Forest Park, curated by Amina Ibadova and Maya-Sofia Zhumatina, Moscow
2025 – Protective Spaces: Protection/Vulnerability, Septemas Creative Association, Moscow
Festivals and fairs:
2025 Art Space Hopping, CTI "Fabrika", Moscow
Residences:
2025 Art&Science Laboratories "Reasonable Consumption", Moscow
VOICES OF THE ROOTS
installation
Year created:
2025
Dimensions:
Height 5 meters, variable dimensions
Materials:
Jute bags (recycled material), fabric with archival photos, text, audio system, lights, fan, branches, soil
Voice: Elvira Bayazitova, Andrey Garusov
Exhibited: Non-Indifferent Nature, Fabrika CCI, Moscow.
The installation “Voices of the Roots” addresses the inner life of the tree — its breathing, memory, and mythology.
The suspended canopies become its body, embodying the elements of water, earth, air, and warmth — the forces that nourish and sustain the tree’s life. Within these spaces, the “voice of the tree” can be heard — a text written from the tree’s perspective, interwoven with real vibrations of the wood captured by a contact microphone.
Inside each tent there is its own environment — signs based on bark structure — a possible language of the tree. Thus, every element acquires its visual and tactile representation, transforming from abstraction to embodied experience. In these spaces, the “Voice of the tree” resounds — a text written from its perspective, combined with real wood vibrations recorded by contact microphone.
One can find oneself inside a semi-closed shell, where time slowens down, and nature's usual silence turns into tangible presence.Or just pass by…
HONORARY RESIDENT OF THE FOREST
performance
Year of creation:
2025
Duration of the performance:
15 min
What if a tree is not merely a part of the landscape but a full-fledged participant in life with its own voice and story?
In this performance, I propose rethinking our interaction with trees beyond utilitarian and anthropocentric perspectives. Through my gesture of recognition, the tree becomes an equal participant in ecosystemic processes, endowed with its own agency.
The act of presenting an award and reading a certificate establishes a new ritual in which I engage in communication with the tree on equal terms. After the award, the tree is given the opportunity to respond. Its voice—whether the creak of frozen bark or a silent presence—serves as the final note in the dialogue, highlighting the multiplicity of ways of existing and interacting that transcend the boundaries of human language.
Through this project, I aim to invite the audience to feel part of a more complex system of connections, in which both human and tree are equally significant elements
Materials:
A 7-meter path woven from leaves, a certificate made from kombucha culture, a medal (17 cm in diameter) made from fat, seeds, and corn starch, moss, a tripod with an iPhone
After the ceremony, I conduct interviews with the attending audience, which includes both people and fir trees. Everyone is asked: "What do you think about this event?" People respond with words, while trees answer with the sound of the wind, the rustle of needles, or silence. This moment extends the dialogue, where the voice of nature exists on equal terms with the human voice, revealing the multilayered and ambiguous nature of communication between different forms of life.
PERIMETER OF CHOICE
videо
2025
Video Duration:
5:36
Description:
Filmed from a window: a woman with a stroller slowly circles a young, fragile tree in a small, tight circle less than ten metres in diameter. The grass is already trampled bare — the trace of countless repetitions. Only a short fragment of her hours-long circling is captured, yet even in this excerpt the weight of ritual and the heaviness of voluntary enclosure are palpable.
An everyday walk is amplified to the point of absurdity, transformed into an archaic rite in which habit functions simultaneously as shield and cage. Maternal routine reveals itself here as one of the most rigid social scripts, where care imperceptibly slips into submission. The work records self-imposed limitation in the midst of physically open space and quietly interrogates the artist’s role as distant observer: the tension between merely witnessing a constraint and the ethical demand to break it.
CONTROL ERROR
videо
2025
Video Duration:
3:00
Description:
This video captures a traffic light behaving strangely: it skips numbers and displays impossible counts.
I see it as a micro-model of power — a form of urban control that shapes our behavior and organizes our time.
People obey this rhythm even when it appears illogical or absurd.
My work is a small artistic investigation into how a system continues to govern us even when it is internally flawed.
SYMBIOSIS
object
Year of creation:
2025
Dimensions:
70 х 45 х 28 cm
Materials:
Laboratory glass, tripod, wool
In Symbiosis, I explore the idea of interpenetration — the moment when the cold precision of an experiment becomes a gesture of collaboration with the living. The form of the laboratory device evokes the male body, but also the structures of transmission, circulation, fertilization, and the movement of matter.
Transparent glass creates a sense of purity and sterility, yet inside it a small woolen sphere is hidden — a pulsating point of warmth. This detail suggests that even within mechanisms of control there remains room for the organic, the unpredictable, and the tender.
The work is inspired by Timothy Morton’s ideas on symbiosis and the inseparability of all living things: humans, matter, and nature do not exist beside one another but within one another, in a constant exchange of energy and attention.
LABYRINTHS OF EVOLUTION
object
Year of creation:
2025
Dimensions:
40 х 30 х 21 cm
Materials:
Laboratory glass, tripod, wool
If Symbiosis speaks about connection and transmission, then Evolutionary Labyrinths is about embodiment and preservation. Its form recalls a female reproductive system, transforming a laboratory device into a body capable of feeling.
Inside the transparent shell lies a small ball of colored wool, curled like an embryo or a miniature planet. This fragile core of warmth becomes an image of a new evolution — one in which life emerges not in spite of technology, but through it.
Together, the two works form a single organism — a dialogue between care and control, observation and participation. In this dialogue, glass becomes a metaphor for permeability: it separates and connects at the same time, allowing us to see the intertwined nature of the living, of technology, and of witnessing.
EXTRACTION RESIDUE
object
Year of creation:
2025
Dimensions:
60 х 28 х 13 cm
Materials:
Laboratory glass, tripod, wool
In this sculpture, I explore the moment when extraction ceases to be a neutral act and becomes a gesture of exhaustion. The separating funnel, fixed on a laboratory tripod, serves as an image of the scientific method pushed to the limits of its instrumentality. Inside the glass is a compressed woolen model of Earth, as if everything has already been wrung out of it. This object is not only a metaphor for ecological overload but also a reflection of the vanishing distinction between investigation and destruction. Through the precision of the laboratory, anxiety emerges: the subject of study is no longer a living process but its remnant.
UNITUDE
series
In this series, I address water as a living mediator between times and forms of life. For each painting, I use water from different natural sources—Seliger, Turgojak, and others.
Water is for me a universal medium that connects all living things on Earth. It holds the memory of the planet—its catastrophes, transformations, and the breath of time, retaining traces of everything that existed before us.
Water becomes an image of the state of Unitude—a shamanistic experience in which separateness and unity of the world are felt simultaneously.
120 х 180 cm
mixed media, canvas
2024
190 х130 cm
mixed media, canvas
2023
DEEPLY ON THE SURFACE
series
For me, the surface of the canvas is not merely a plane for imagery but a portal through which reality endlessly unfolds, connecting the human with the depth of emotions. This perspective is deeply shaped by my Buryat and Roma roots, where the world is perceived as a living, breathing system. Exploring the interconnectedness and permeability between surface and depth, I engage with sensations of tactility and multilayeredness. I am drawn to moments when the familiar transforms into a point of transition, opening a new level of perception where the material and the sensory intertwine.
mixed media, canvas
2023
I am exploring the phenomenon
of interconnectedness and permeability
My central question is: “How is everything connected, even when it seems separate?”
It is important for me not only to articulate these interconnections but also to experience them through tactile, ritualistic, and artistic gestures that create new ways of perception.
I come from Zabaikalye. My Buryat and Roma roots have shaped the foundation of my practice, instilling in me a sensitivity to moments of transition and shamanic notions of nature’s agency. I create situations where the ordinary becomes sacred, and the relationships between science and intuition, human and environment, personal and external, interweave. For me, the world is not a collection of separate elements but a living network of processes and interactions.
In Voices of the Roots, I engage with the history of timber rafting, transforming the study of lost forests into a ritualistic sonic experience of interconnectedness. In the project Honorary Citizen of the Forest, I acknowledge the agency of trees, seeking to redefine their role in collective consciousness and show how the familiar can be reimagined by shifting perspective. In my glass sculptures, I explore the tense space between care and control—fragile forms made of laboratory glass and wool become an image of the anxious connection with the Earth, where every act of observation can become an intervention.
From 2018 to 2024, I successfully worked as a botanical illustrator, participating in exhibitions at museums and galleries in Moscow. However, after my son’s serious illness and confronting my own mortality, I reevaluated my relationship with life and art. I began creating abstract works, installations, and performances, which led me to enroll in the Bakshtein Institute of Contemporary Art, where I continue my studies.
Now, I live and work in Moscow. Despite my age, I feel like a young, emerging contemporary artist and am eager to realize many new projects.
2024–2026 Bakshtein Institute of Contemporary Art, Moscow
2010–2012 Institute of Art Restoration, Architect-Restorer, Moscow
Selected Group Exhibitions:
2025 – Water Level, Gridchinhall Gallery, curated by Maria Shubina, Moscow
2025 – Attentive Nature, CCI Fabrika, curated by Stanislav Shuripa, Moscow
2025 – Cycles and Spirals, Barn Gallery, curated by Denis Baenko and Naya Pikun, Kaliningrad
2025 – Hunt, Izmailovsky Forest Park, curated by Amina Ibadova and Maya-Sofia Zhumatina, Moscow
2025 – Protective Spaces: Protection/Vulnerability, Septemas Creative Association, Moscow
Festivals and fairs:
2025 Art Space Hopping, CTI "Fabrika", Moscow
Residences:
2025 Art&Science Laboratories "Reasonable Consumption", Moscow
VOICES OF THE ROOTS
installation
2025
Dimensions:
Height 5 meters, variable dimensions
Materials:
Jute bags (recycled material), fabric with archival photos, text, audio system, lights, fan, branches, soil
Voice:
Elvira Bayazitova, Andrey Garusov
Exhibited: Non-Indifferent Nature, Fabrika CCI, Moscow.
The installation “Voices of the Roots” addresses the inner life of the tree — its breathing, memory, and mythology.
The suspended canopies become its body, embodying the elements of water, earth, air, and warmth — the forces that nourish and sustain the tree’s life. Within these spaces, the “voice of the tree” can be heard — a text written from the tree’s perspective, interwoven with real vibrations of the wood captured by a contact microphone.
Inside each tent there is its own environment — signs based on bark structure — a possible language of the tree. Thus, every element acquires its visual and tactile representation, transforming from abstraction to embodied experience. In these spaces, the “Voice of the tree” resounds — a text written from its perspective, combined with real wood vibrations recorded by contact microphone.
HONORARY RESIDENT OF THE FOREST
performance
2025
Duration of the performance:
15 min
What if a tree is not merely a part of the landscape but a full-fledged participant in life with its own voice and story?
In this performance, I propose rethinking our interaction with trees beyond utilitarian and anthropocentric perspectives. Through my gesture of recognition, the tree becomes an equal participant in ecosystemic processes, endowed with its own agency.
The act of presenting an award and reading a certificate establishes a new ritual in which I engage in communication with the tree on equal terms. After the award, the tree is given the opportunity to respond. Its voice—whether the creak of frozen bark or a silent presence—serves as the final note in the dialogue, highlighting the multiplicity of ways of existing and interacting that transcend the boundaries of human language.
Through this project, I aim to invite the audience to feel part of a more complex system of connections, in which both human and tree are equally significant elements.
Materials:
A 7-meter path woven from leaves, a certificate made from kombucha culture, a medal (17 cm in diameter) made from fat, seeds, and corn starch, moss, a tripod with an iPhone.
After the ceremony, I conduct interviews with the attending audience, which includes both people and fir trees. Everyone is asked: "What do you think about this event?" People respond with words, while trees answer with the sound of the wind, the rustle of needles, or silence. This moment extends the dialogue, where the voice of nature exists on equal terms with the human voice, revealing the multilayered and ambiguous nature of communication between different forms of life.
PERIMETER OF CHOICE
videо
2025
Video Duration:
5:36
Description:
Filmed from a window: a woman with a stroller slowly circles a young, fragile tree in a small, tight circle less than ten metres in diameter. The grass is already trampled bare — the trace of countless repetitions. Only a short fragment of her hours-long circling is captured, yet even in this excerpt the weight of ritual and the heaviness of voluntary enclosure are palpable.
An everyday walk is amplified to the point of absurdity, transformed into an archaic rite in which habit functions simultaneously as shield and cage. Maternal routine reveals itself here as one of the most rigid social scripts, where care imperceptibly slips into submission. The work records self-imposed limitation in the midst of physically open space and quietly interrogates the artist’s role as distant observer: the tension between merely witnessing a constraint and the ethical demand to break it.
CONTROL ERROR
videо
2025
Video Duration:
3:00
Description:
This video captures a traffic light behaving strangely: it skips numbers and displays impossible counts.
I see it as a micro-model of power — a form of urban control that shapes our behavior and organizes our time.
People obey this rhythm even when it appears illogical or absurd.
My work is a small artistic investigation into how a system continues to govern us even when it is internally flawed.
SYMBIOSIS
object
2025
Dimensions:
70 х 45 х 28 cm
Materials:
Laboratory glass, tripod, wool.
Description:
In Symbiosis, I explore the idea of interpenetration — the moment when the cold precision of an experiment becomes a gesture of collaboration with the living. The form of the laboratory device evokes the male body, but also the structures of transmission, circulation, fertilization, and the movement of matter.
Transparent glass creates a sense of purity and sterility, yet inside it a small woolen sphere is hidden — a pulsating point of warmth. This detail suggests that even within mechanisms of control there remains room for the organic, the unpredictable, and the tender.
The work is inspired by Timothy Morton’s ideas on symbiosis and the inseparability of all living things: humans, matter, and nature do not exist beside one another but within one another, in a constant exchange of energy and attention.
LABYRINTHS OF EVOLUTION
object
2025
Dimensions:
40 х 30 х 21 cm
Materials:
Laboratory glass, tripod, wool.
Description:
If Symbiosis speaks about connection and transmission, then Evolutionary Labyrinths is about embodiment and preservation. Its form recalls a female reproductive system, transforming a laboratory device into a body capable of feeling.
Inside the transparent shell lies a small ball of colored wool, curled like an embryo or a miniature planet. This fragile core of warmth becomes an image of a new evolution — one in which life emerges not in spite of technology, but through it.
Together, the two works form a single organism — a dialogue between care and control, observation and participation. In this dialogue, glass becomes a metaphor for permeability: it separates and connects at the same time, allowing us to see the intertwined nature of the living, of technology, and of witnessing.
EXTRACTION RESIDUE
object
2025
Dimensions:
60 х 28 х 13 cm
Materials:
Laboratory glass, tripod, wool.
Description:
In this sculpture, I explore the moment when extraction ceases to be a neutral act and becomes a gesture of exhaustion. The separating funnel, fixed on a laboratory tripod, serves as an image of the scientific method pushed to the limits of its instrumentality. Inside the glass is a compressed woolen model of Earth, as if everything has already been wrung out of it. This object is not only a metaphor for ecological overload but also a reflection of the vanishing distinction between investigation and destruction. Through the precision of the laboratory, anxiety emerges: the subject of study is no longer a living process but its remnant.
UNITUDE
serie
In this series, I address water as a living mediator between times and forms of life. For each painting, I use water from different natural sources—Seliger, Turgojak, and others.
Water is for me a universal medium that connects all living things on Earth. It holds the memory of the planet—its catastrophes, transformations, and the breath of time, retaining traces of everything that existed before us.
Water becomes an image of the state of Unitude—a shamanistic experience in which separateness and unity of the world are felt simultaneously.
120 х 180 cm
mixed media, canvas
2024 г
130 х 190 cm
mixed media, canvas
2024 г
DEEPLY ON THE SURFACE
series
For me, the surface of the canvas is not merely a plane for imagery but a portal through which reality endlessly unfolds, connecting the human with the depth of emotions. This perspective is deeply shaped by my Buryat and Roma roots, where the world is perceived as a living, breathing system. Exploring the interconnectedness and permeability between surface and depth, I engage with sensations of tactility and multilayeredness. I am drawn to moments when the familiar transforms into a point of transition, opening a new level of perception where the material and the sensory intertwine.
130 х 120 cm
mixed media, canvas
2023 г
120 х 120 cm
mixed media, canvas
2022
I am exploring the phenomenon
of interconnectedness and permeability
My central question is: “How is everything connected, even when it seems separate?”
It is important for me not only to articulate these interconnections but also to experience them through tactile, ritualistic, and artistic gestures that create new ways of perception.
I come from Zabaikalye. My Buryat and Roma roots have shaped the foundation of my practice, instilling in me a sensitivity to moments of transition and shamanic notions of nature’s agency. I create situations where the ordinary becomes sacred, and the relationships between science and intuition, human and environment, personal and external, interweave. For me, the world is not a collection of separate elements but a living network of processes and interactions.
In Voices of the Roots, I engage with the history of timber rafting, transforming the study of lost forests into a ritualistic sonic experience of interconnectedness. In the project Honorary Citizen of the Forest, I acknowledge the agency of trees, seeking to redefine their role in collective consciousness and show how the familiar can be reimagined by shifting perspective. In my glass sculptures, I explore the tense space between care and control—fragile forms made of laboratory glass and wool become an image of the anxious connection with the Earth, where every act of observation can become an intervention.
From 2018 to 2024, I successfully worked as a botanical illustrator, participating in exhibitions at museums and galleries in Moscow. However, after my son’s serious illness and confronting my own mortality, I reevaluated my relationship with life and art. I began creating abstract works, installations, and performances, which led me to enroll in the Bakshtein Institute of Contemporary Art, where I continue my studies.
Now, I live and work in Moscow. Despite my age, I feel like a young, emerging contemporary artist and am eager to realize many new projects.
2024–2026 Bakshtein Institute of Contemporary Art, Moscow
2010–2012 Institute of Art Restoration, Architect-Restorer, Moscow
Selected Group Exhibitions:
2025 – Water Level, Gridchinhall Gallery, curated by Maria Shubina, Moscow
2025 – Attentive Nature, CCI Fabrika, curated by Stanislav Shuripa, Moscow
2025 – Cycles and Spirals, Barn Gallery, curated by Denis Baenko and Naya Pikun, Kaliningrad
2025 – Hunt, Izmailovsky Forest Park, curated by Amina Ibadova and Maya-Sofia Zhumatina, Moscow
2025 – Protective Spaces: Protection/Vulnerability, Septemas Creative Association, Moscow
Festivals and fairs:
2025 Art Space Hopping, CTI "Fabrika", Moscow
Residences:
2025 Art&Science Laboratories "Reasonable Consumption", Moscow
VOICES OF THE ROOTS
installation
2025
Dimensions:
Height 5 meters, variable dimensions
Materials:
Jute bags (recycled material), fabric with archival photos, text, audio system, lights, fan, branches, soil
Voice:
Elvira Bayazitova, Andrey Garusov
Exhibited: Non-Indifferent Nature, Fabrika CCI, Moscow.
The installation “Voices of the Roots” addresses the inner life of the tree — its breathing, memory, and mythology.
The suspended canopies become its body, embodying the elements of water, earth, air, and warmth — the forces that nourish and sustain the tree’s life. Within these spaces, the “voice of the tree” can be heard — a text written from the tree’s perspective, interwoven with real vibrations of the wood captured by a contact microphone.
HONORARY RESIDENT OF THE FOREST
performance
2025
Duration of the performance:
15 min
What if a tree is not merely a part of the landscape but a full-fledged participant in life with its own voice and story?
In this performance, I propose rethinking our interaction with trees beyond utilitarian and anthropocentric perspectives. Through my gesture of recognition, the tree becomes an equal participant in ecosystemic processes, endowed with its own agency.
The act of presenting an award and reading a certificate establishes a new ritual in which I engage in communication with the tree on equal terms. After the award, the tree is given the opportunity to respond. Its voice—whether the creak of frozen bark or a silent presence—serves as the final note in the dialogue, highlighting the multiplicity of ways of existing and interacting that transcend the boundaries of human language.
Through this project, I aim to invite the audience to feel part of a more complex system of connections, in which both human and tree are equally significant elements.
Materials:
A 7-meter path woven from leaves, a certificate made from kombucha culture, a medal (17 cm in diameter) made from fat, seeds, and corn starch, moss, a tripod with an iPhone.
After the ceremony, I conduct interviews with the attending audience, which includes both people and fir trees. Everyone is asked: "What do you think about this event?" People respond with words, while trees answer with the sound of the wind, the rustle of needles, or silence. This moment extends the dialogue, where the voice of nature exists on equal terms with the human voice, revealing the multilayered and ambiguous nature of communication between different forms of life.
PERIMETER OF CHOICE
videо
2025
Video Duration:
5:36
Description:
Filmed from a window: a woman with a stroller slowly circles a young, fragile tree in a small, tight circle less than ten metres in diameter. The grass is already trampled bare — the trace of countless repetitions. Only a short fragment of her hours-long circling is captured, yet even in this excerpt the weight of ritual and the heaviness of voluntary enclosure are palpable.
An everyday walk is amplified to the point of absurdity, transformed into an archaic rite in which habit functions simultaneously as shield and cage. Maternal routine reveals itself here as one of the most rigid social scripts, where care imperceptibly slips into submission. The work records self-imposed limitation in the midst of physically open space and quietly interrogates the artist’s role as distant observer: the tension between merely witnessing a constraint and the ethical demand to break it.
CONTROL ERROR
videо
2025
Video Duration:
3:00
Description:
This video captures a traffic light behaving strangely: it skips numbers and displays impossible counts.
I see it as a micro-model of power — a form of urban control that shapes our behavior and organizes our time.
People obey this rhythm even when it appears illogical or absurd.
My work is a small artistic investigation into how a system continues to govern us even when it is internally flawed.
SYMBIOSIS
object
2025
Dimensions:
70 х 45 х 28 cm
Materials:
Laboratory glass, tripod, wool.
Description:
In Symbiosis, I explore the idea of interpenetration — the moment when the cold precision of an experiment becomes a gesture of collaboration with the living. The form of the laboratory device evokes the male body, but also the structures of transmission, circulation, fertilization, and the movement of matter.
Transparent glass creates a sense of purity and sterility, yet inside it a small woolen sphere is hidden — a pulsating point of warmth. This detail suggests that even within mechanisms of control there remains room for the organic, the unpredictable, and the tender.
The work is inspired by Timothy Morton’s ideas on symbiosis and the inseparability of all living things: humans, matter, and nature do not exist beside one another but within one another, in a constant exchange of energy and attention.
LABYRINTHS OF EVOLUTION
object
2025
Dimensions:
40 х 30 х 21 cm
Materials:
Laboratory glass, tripod, wool.
Description:
If Symbiosis speaks about connection and transmission, then Evolutionary Labyrinths is about embodiment and preservation. Its form recalls a female reproductive system, transforming a laboratory device into a body capable of feeling.
Inside the transparent shell lies a small ball of colored wool, curled like an embryo or a miniature planet. This fragile core of warmth becomes an image of a new evolution — one in which life emerges not in spite of technology, but through it.
Together, the two works form a single organism — a dialogue between care and control, observation and participation. In this dialogue, glass becomes a metaphor for permeability: it separates and connects at the same time, allowing us to see the intertwined nature of the living, of technology, and of witnessing.
EXTRACTION RESIDUE
object
2025
Dimensions:
60 х 28 х 13 cm
Materials:
Laboratory glass, tripod, wool.
Description:
In this sculpture, I explore the moment when extraction ceases to be a neutral act and becomes a gesture of exhaustion. The separating funnel, fixed on a laboratory tripod, serves as an image of the scientific method pushed to the limits of its instrumentality. Inside the glass is a compressed woolen model of Earth, as if everything has already been wrung out of it. This object is not only a metaphor for ecological overload but also a reflection of the vanishing distinction between investigation and destruction. Through the precision of the laboratory, anxiety emerges: the subject of study is no longer a living process but its remnant.
UNITUDE
serie
In this series, I address water as a living mediator between times and forms of life. For each painting, I use water from different natural sources—Seliger, Turgojak, and others.
Water is for me a universal medium that connects all living things on Earth. It holds the memory of the planet—its catastrophes, transformations, and the breath of time, retaining traces of everything that existed before us.
Water becomes an image of the state of Unitude—a shamanistic experience in which separateness and unity of the world are felt simultaneously.
120 х 180 cm
mixed media, canvas
2024 г
130х190 cm
mixed media, canvas
2024 г.DEEPLY ON THE SURFACE
series
For me, the surface of the canvas is not merely a plane for imagery but a portal through which reality endlessly unfolds, connecting the human with the depth of emotions. This perspective is deeply shaped by my Buryat and Roma roots, where the world is perceived as a living, breathing system. Exploring the interconnectedness and permeability between surface and depth, I engage with sensations of tactility and multilayeredness. I am drawn to moments when the familiar transforms into a point of transition, opening a new level of perception where the material and the sensory intertwine.
130х120 cm
mixed media, canvas
2023
120х120 cm
mixed media, canvas
2023