My work explores attitudes of a general viewer to art in the palpable properties of familiar objects. It delves into optical perception before instruction and abstraction. Over the last years I have been focusing on the ways in which seeing - ostensibly a physical activity - is influenced by socio-cultural background. I am interested in what seeing could mean, say, for a modern Russian city dweller, ancient Chinese calligraph, or my German neighbour.
Working on the crossroads between conceptual art and art theory, I like to play with the notion of authorship, seeking alternatives to the Romantic style of self-expression and swapping the roles of artist and viewer. I often chose painting (mainly landscape) as the medium reliably documenting the optics of human sight in various epochs and cultures.
Another important thread in my work is the meaning of manual labour in the context of computerised society. Since early Antiquity, mind has been linked to hand; in retaining handwork as an essential component of art and life I see the way of keeping humans awake, alert, and aware of their surroundings.