Born in Kyiv and currently based between Montreal and Budva, I am a visual artist whose work moves across painting, digital media, and installation. My practice is rooted in gesture and improvisation, often blurring the line between control and chance. After completing a BFA in Fine Arts at Concordia University, I began experimenting with hybrid forms that merge traditional techniques with digital processes.
Over the past five years, I have exhibited in group and solo shows across Canada and Europe, including spaces such as Reforum, Adriatic College Gallery, and independent digital art platforms. My works have been featured in collaborative projects that explore questions of identity, migration, and the politics of representation.
Beyond my own studio practice, I am active as a mentor and educator, working with young artists to develop their portfolios and exhibitions. My current projects include immersive installations and cross-media collaborations that investigate how personal narratives intersect with global histories.
I’m a visual artist working in painting, drawing, and mixed media, building layered surfaces that hold traces—cuts, seams, erasures—the way places and people remember. My current body of work, Quiet Repairs, mends paper, pigment, and cloth into calm, tactile compositions about care, fracture, and the slow work of healing. I’m after attention and presence: art that slows the eye, lets silence speak, and invites the viewer to recognize their own memory in the surface.
My practice explores the tension between memory and material. I work with painting, digital collage, and found objects to trace how personal and collective histories are layered, erased, and reimagined. Often beginning with fragments—an overheard phrase, a weathered photograph, or a digital glitch—I allow accidents and improvisation to guide the process. What emerges are works that resist closure: unfinished gestures, unstable forms, surfaces that seem to hold both presence and absence. I see each piece as a conversation rather than a conclusion, a way of asking rather than answering.
Underlying my practice is a belief that art is not about illustrating stories but about creating spaces where viewers can project their own experiences and emotions. I want my work to feel porous, inviting others to linger in ambiguity, to imagine new connections, and to sense their own agency in completing the image.
I’m drawn to the city’s second skin: worn walls, taped posters, repaired edges, and the way time writes on surfaces. Night walks, archival family photos, concrete at dawn, and rooftops after rain are steady companions. I return often to artists who honor restraint and material truth—Agnes Martin, Samuel Levi Jones, Bosco Sodi—and to the Japanese idea of wabi-sabi and the ethic of visible mending. Books: Anne Carson’s Plainwater, John Berger’s Ways of Seeing. Music: ambient, minimal jazz, and long silences that act like rooms. Secret obsessions: paper fibers, gray temperatures, and the exact sound of scissors through cloth.
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