I’m an artist and visual designer born in Minsk and based in Paris — someone who has always learned by observation, by taking the world apart into shapes, tones, unexpected colors, hidden structures. I taught myself to draw long before any formal education; I simply looked closely until objects broke into components and revealed their logic.
Patterns of Who I Am
COFFEE, CAMERAS, DIRECTION & ACTION
I studied Graphic Design at the Belarusian State Academy of Arts, and I genuinely loved it.
The Academy was a world of its own — classical drawing, composition, hand-painted pixels, material studies, design theory, sculpture, color discipline. We built everything by hand, from charcoal anatomy to pixel grids. That environment shaped my eye, my craft, and my capacity to move between mediums without losing intention. It taught me rigor, honesty, and patience — the kind of foundation you carry for life.
Parallel to that, I was falling in love with analog photography: film grain, darkrooms, chemical unpredictability, pinhole experiments, photograms. Later came painting, conceptual series, avant-garde influences, imaginary campaigns, AI-driven imagery. I’ve always been drawn to mediums that contradict each other — tactile and digital, rough and hyper-precise, intuitive and structural.
My works have been published in VOGUE, Harper’s Bazaar, and various independent magazines.
Those features were not accidental; they were built through persistent personal projects and the need to create something honest and visually intelligent. This momentum eventually led to receiving a French Talent Passport as an artist and designer. During the covid pandemic I moved to Paris, where I lived for five years — absorbing new cultures, visual codes, light, materials, and the rhythm of a city that constantly reshapes you.
Approach
I’ve explored so many sides of visual creation that now they blur into one practice:
painting, photography, design systems, editorial direction, illustration, AI experiments, research-based concept work. I don’t separate them; I let them inform one another. My identity is multidisciplinary not for range, but because this is the most accurate way for me to think.
I see every project as a living system — not a static identity, but a vocabulary of symbols, materials, gestures and emotional logic. I search for the internal truth of an idea: its tone, its temperature, the resonance it leaves behind. The goal is not decoration, but articulation.
My process moves in cycles:
observation → deconstruction → sensory exploration → reduction → reconstruction.
I might begin with analog texture, shift into digital structure, break it apart again, and rebuild it until the visual language becomes inevitable.
I don’t work within a discipline.
I work within the idea.
Everything else is a tool.
SELECTED FEATURES
I’ve been featured in a range of international editorials, publications, and creative collaborations. These are a selected few.
My collaborations grow from shared curiosity: photographers, editors, designers, and cultural brands who think beyond format. These projects become hybrid spaces — where image, concept, and instinct merge into visual worlds that couldn’t exist alone.
Collaboration is at the center of my work.
I take the time to understand what matters, what feeling we're trying to communicate, and what world we want to build. My role is to bring a fresh, artistic perspective — to elevate the idea through intuition, storytelling, and avant-garde thinking — while keeping the process clear, thoughtful, and deeply creative.
Working together means creating something meaningful, unexpected, and truly unique.
