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To what extent does the eye agree with what it sees?
Creating a beautiful form has never been an end in itself for me. Form is more of a beginning — the entrance to something else, to an exploration that lies behind the visible. In works like “Blur,” for example, my approach is not simply sculptural in the traditional sense — it’s not about taking away or superimposing form to create something beautiful. I’m interested in what lies beyond that form and how it can pose a question rather than provide an answer.
In the lines I’ve developed over the years — AIR, Cashmere — I examine the opposition between visible and invisible, real and unreal, hidden and revealed. For me, these are not just visual categories, but a reflection of the way we exist today. We live in a world where we are constantly witnessing things that look one way, while behind them something completely different is happening. We see beautiful nature, but we don’t see how endangered it is. We believe in images that we accept as truth without thinking about what lies behind them.This led me to a question that continues to concern me: to what extent does the eye agree with what it sees? And to what extent is a person ready to accept the illusory as reality? Much of human perception of the world is an illusion of the eye.

What is interesting to me is that the viewer agrees with this. He accepts this fictional matter as possible. My sculptures often seem superficial at first glance — aesthetic, finished objects. But there is always a paradox locked in them that is not immediately revealed. People stop in front of them, stay, look, without knowing exactly why. And the reason lies precisely in this hidden mechanism — in the feeling that something is not quite right, although it seems convincing.
Perhaps the most accurate definition of what I do is that I am a sculptor of paradox. I create objects that resemble reality, but are not its direct reflection. They look real, but contain an internal contradiction. I create matter that seems completely real, but in fact cannot exist in this way in the physical world.
This is directly related to the modern world. We live in a reality that is deeply illusory — a world in which we believe in things that are not true and doubt what is. Everything is changing so quickly that our very perception is shifting. In this sense, my art is not a protest, but rather an observation and investigation — an attempt to see how far we can go in this trust in the image. In a sense, it is also a game. I am interested in how far I can push an object that strongly resembles the real thing, but is not. How far the viewer will accept this fiction as reality.
In the works from the ZOOM series, this interest has deepened even further. There I try to penetrate below the surface — to get to what creates matter itself. The more you “zoom in,” the more clearly you begin to see the threads from which it is built. I bring these threads to the surface and recreate them in a new aesthetic.

Material is also important to me, but not in itself, but as an opportunity for paradox — to create “matters” from atypical materials, to build something that seems familiar, but cannot exist in this way in the physical world.
Lately, I have also started to turn to another topic — the connection between past and present. I am interested in how the artist steps on tradition and how he changes it. But even more — how memory works. The memory of society, of matter, of man. We live in a world that seems to forget very quickly — reacts as if it does not remember what happened only a century ago. This line started from a personal memory of mine from childhood — a world that no longer exists, but whose traces can still be found in objects such as a spindle or a hurka. Now I am trying to understand how these objects carry memory — not only as a form, but as an experience. What remains of them and how this “remaining” continues to influence the way we perceive the present.

Ultimately, everything I do comes back to the same thing—what we choose to believe we see.

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