The painting is a journey through the thin line between shadow and light, the visible and the hidden, sublime and frivolous, logical and irrational. This passionate desire to tell something, but with dumb means. Plato insisted on the silence of the artist. The peculiarity of the painting lies in this double condition: the desire to express and resolve to remain silent. Therefore, the painting begins to fulfill its communicative function when the language capabilities are exhausted and reach the limit: it is like a compressed spring ready to break through the muteness, encouraging to the knowledge of the ineffable. The suddenness with which, without any effort on our part, the picture appears before our eyes, paradoxically, makes the art the most secretive of all the arts. The ease with which we perceive the painting makes assume that anything from us is not required. The painting contains essential contradiction between the obvious - the image and the hidden sanctuary - its meaning. We should not expect from a painting a spontaneous discovery of its purpose. The charm of the painting is for us in an eternal, enigmatic and ambiguous hieroglyph. In the story of Borges’ “The garden of branching trails” there is a phrase: “What a word is not used in a puzzle?”- “Solution” Revelation is a mystery, a paradox. It is always bordered with something incomprehensible. A paradox in translation from Greek means lying beyond knowledge. “The broader our knowledge, the more is the border with the unbeknown”, as Zenon said. The language of art is an image, and not the direct statement, but it is impossible to write an explanatory note or put it to each painting of the art historian. Picking out a fragment of reality, the artist forms it in a strictly defined framework, but in such away that a snatched piece acts like an explosion, swinging open the window to a much more extensive reality.
"The female figure for the painter is the space, the infinite variety of variations and nuances both in plastic, proportions and in the search for new readings of the same model. This is not just a frozen form, but a bundle of energy, emotions and feelings. It pulsates life, it moves and breathes. The very structure of the skin interacts miraculously with light, giving the surface of body a special color depth. Like Gumilev: “And under her satin the blood poisoning skin runs..." My paintings are often attributed to the genre of erotica, for me this erotic subtext is of course interesting, but not primary in the painting. For me it is more interesting when it appears in the course of work, and I do not is the original, or, even worse, the only task. Each new work is is a new story. It happens that the work is written in one day, it happens that it is born for years. I love it when the work is immediate, but it is rare, it is often simply not feasible technically. But we consider only the process of painting, but there is also a “submarine” part- this is a development of the concept, finding the composition sketches, essays. The picture is not born suddenly, it is always the formation of life, the idea appears as a slight breeze, as the twenty-fifth frame, flashed and stuck somewhere deep down. Until some time it does not have an effect until the random association does not impose on it, causing a completely new interpretation. Then it begins to spin like a wheel, acquiring all new images and gradually developing into the inner picture, which is already bursting through, it is haunted. And the fun begins ..."