The development of the practice unfolds through a series of shifts in how situations, materials, spaces and time become part of the work.
These shifts overlap and recur rather than forming a linear progression.

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1998–2002

SITUATION BECOMES MATERIAL

Everyday situations, familiar things and ordinary spaces become material. A small change in context, arrangement or attention makes the familiar appear differently. The work begins by changing how something is encountered.

Otmykay Leto… · Otto Arte. P.S. · Children’s Room · Simple Things · Жили-были… Новогодний синдром · Round Summer · Angle of View / Fence becomes stairs

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1999–2006

PERCEPTION BECOMES ACTION

The shift moves from seeing differently to acting differently. Position, movement, observation and the passage through space become part of the work. The viewer is no longer outside the situation, but helps activate it.

Attempt State: BETWEEN · On Ethics, Aesthetics and Breath · Corridor · Observation System · Angle of View / Fence becomes stairs · Brobdingneg

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2002–2008

OBJECT BECOMES RELATION

Objects cease to exist simply as objects. Used things, bodily actions, rituals, exchange, consumption, myth and language give them new relations and possible biographies. The work begins to exist between things and people.

Galanteria: Shoes & Accessories · New hole (Sieve) · Lullaby for the River · Domestic Witchcraft · Appetite · Russian Cheese. Today · The Golden Eggs

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2006–2012

THE FRAME OPENS

The fixed frame gives way to light, movement, sequence, absence and temporary images. The screen can become a person, a hand, glass, a tree or a passing object; the work may exist only while the conditions are active.

A Single Brushstroke · The Well · The Invisible Fir · Score of the Day · Prophylactorium

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2006–2019

PLACE BECOMES AN ACTIVE FIELD

The work moves beyond the autonomous object toward city, architecture and landscape. Place is no longer a background but an active field through which perception and action are organised. The work becomes inseparable from the conditions of the place and from the experience of moving through it.

Wedding of the Tower and the Metro · Möbius Pretzel · PanGorMonium · Shoot for Color · Podberezoviki · Flying Deer / Mythical Forest

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2020–2026

PLACE, MATERIAL AND TIME ACT

The site begins to affect the work itself. Geological traces, found materials, weather, duration, movement and the history of a place become active agents. The artist can establish a condition, but cannot fully determine what follows.

The Quarry as Witness · Deer Stones

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2020–2026

THE WORK BECOMES AN OPEN PROCESS

The work is increasingly released into time, place, weather, chance and participation. It can change, move, disappear or be continued by others. What remains may be an event, a memory, an altered relation or a trace rather than a stable object.

Miniks · Golden Apples · To understand — one must walk · Flying Deer (2024) · Sieve of Silence · Through · Letters of Water · The Golden Eggs Episode 6

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CROSS-CURRENTS

The same questions return under changing conditions.

Cross-current	How it appears across the practice
PRESENCE ↔ ABSENCE	From The Invisible Fir to Prophylactorium, Eliminates, Απουσία, Nothing and the disappearance of ephemeral works.
OBJECT ↔ SITUATION	From Simple Things and Galanteria: Shoes & Accessories to Golden Apples, Miniks and Nest.
VIEWER ↔ PARTICIPANT	From changed positions in Attempt State: BETWEEN and Corridor to physical and perceptual participation in Through, Golden Apples, The Golden Eggs, episode 6, To understand — one must walk and other open situations.
TRACE ↔ MEMORY	From used objects and material surfaces to Galanteria, Letters of Water, The Quarry as Witness, Deer Country and the disappearance of ephemeral works.
BARRIER ↔ PERMEABILITY	From New hole (Sieve) to A Single Brushstroke, Through, Sieve of Silence
PLACE ↔ PERCEPTION	From Angle of View / Fence becomes stairs to PanGorMonium, The Quarry as Witness and To understand — one must walk: place increasingly becomes not something to look at, but a condition through which perception is produced.
CONTROL ↔ RELEASE	From interventions established by the artist to works whose development is continued by material, place, weather, time and chance: Podberezoviki, The Quarry as Witness, Letters of Water, Nest, Flying Deer and Golden Apples.

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CONTINUITY

Across these developments, the practice remains grounded in the same operation:

existing reality → minimal shift → changed conditions of perception → encounter → unfolding process → trace

The shift may concern perception, position, relation, material, space or time.

What follows cannot be completely determined.

The question remains open.

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REFLECTIONS ON PRACTICE →
I did not begin with a method. I began by looking.