The main questions I work with are about the relationships between human society and contemporary science, industry and technologies.

The themes of my last series are space exploring, human reproduction technologies, Soviet nuclear heritage and its influence on the human life and ecology, the most fundamental questions of contemporary physics.

Esthetics of the world of science, environment of laboratories and industrial spaces, on the one hand, attract me as a painter, but ambiguity of its content excites me. Science, in itself, is neutral, it’s only a tool. It depends of man’s will, how to use it. The most important for me is to formulate the questions, to open the discussions.

Before to start my work I usually make a research, collect materials, meet specialists and scientists, which work is connected with the topic that is interesting to me.

The main technique of my works is tempera on gesso, on wooden panel. This technique has its special features. The format of genre painting, which was appreciated by artists of 16th-17th centuries, seems to me the most convenient for the narrative in picture form. Actually, I distinguish the conception of painting from the conception of picture. The problems which appear during the composing are more interesting for me than tasks relating to the pure painting. In the informal Russian language the word «picture» is frequently used instead of «movie». But the time and act in a painting exist in a different way than in a film. In a film they move successively, whereas in a painting they move from the spectator into the picture space. Act or story is highly concentrated in the genre painting. I like to plan what a spectator will see at first, and what later, but of course it concerns only the main construction of the picture, as with every following second of interaction with a work a spectator passes its own, individual way.

Also, it’s important for me that technique of painting I use complies with a natural perception of human eye, when saturation and volume are directly connected with a luminosity.

The most interesting problem I see in creating a composition without artist’s dictatorship, his personality, without pressure on spectator, without ready answers.

I find the subjects of my pictures in the real life or compose them basing on the real events. In 21-th century, in the ocean of an information, an artist can find, analyse, choose, mix and show significant subjects. Exactly in this manner, I work on my long project, which includes many different aspects of contemporary life.