Calm. Tactile. Deeply rooted. These were the feelings that guided me while creating this triptych. I incorporated delicate denim and linen fabrics taken from high-fashion garments that had remained unworn for fifteen years, giving them a new life through art. The pearl-like and transparent buttons resemble tiny drops of morning dew resting on leaves.

Butterflies are such amazing creatures. Just think about their incredible transformation from a caterpillar into a completely different being with wings! I’ve always found that little miracle fascinating. When I started working on this series, I wanted to look at butterflies from an artistic point of view. Their wing patterns are already unbelievably beautiful, but simply copying nature didn’t interest me. Instead, I began asking myself: What if I had the chance to create a

Whenever I read news about another newly discovered planet that could possibly support life, my imagination immediately starts running wild. What might plants on distant worlds actually look like? My diptych «Alien Flora» is my own artistic reflection on that idea. Something unusual, mysterious, and completely unknown… how could it appear?

What color captures a foggy, enveloping atmosphere better than anything else? For me, it’s definitely grey. Grey is incredibly multifaceted. Working with it taught me a lot about its character and emotional effect. More than any other color, it knows how to adapt to human needs. It becomes an invisible, neutral foundation, a background that feels comfortable to exist within and even to think within.

This diptych, «Lace Dreamscape», feels especially meaningful to me because it was created entirely using shades of brown, without any contrasting or bold accent colors.

This triptych became my reflection on what tropical nature can feel like. The obvious answer would probably be: lush greenery, bright sunlight, bold contrasts, and vibrant colors. But what if the tropics are not always like that? What if it’s raining, wrapped in early morning fog, or covered by soft evening shadows? Then the atmosphere changes completely. The tropics become mysterious, quiet, almost impossible to fully grasp. Soft, calm, and comforting in their own way.

Working with blue and green hues always feels grounding and balanced. In this stage, I keep building the collage, painting over it intuitively and gently shaping the forms. Every element is handmade, from the very first layer to the final details, so each piece remains completely one of a kind.

I create butterflies that don’t exist in nature, it keeps the process exciting and lets me explore new creative challenges. I design each color palette and wing pattern myself, and every butterfly carries its own mood and feeling.

I named this piece «Lace Garden» because it was the very first artwork where I experimented with hand-crocheted cotton lace as an actual medium in my process. And honestly, first attempts are never simple 😄 My head was full of questions: Will this even work? What should I use to attach the lace? How do I stabilize it so it looks clean and organic within the composition?

I absolutely love fantasizing, especially about things we can’t fully know or explain. Sometimes I imagine what kinds of plants might exist on distant planets somewhere far beyond our galaxy. I’m sure their leaves would have unusual colors, mysterious patterns, and forms unlike anything we see on Earth.

Red has always felt like a very complex color to me, filled with explosive and unpredictable energy. It can represent opposite forces at once: the warmth of comforting fire or the intensity of a powerful explosion.

Sometimes it feels almost impossible to invent a botanical composition using three completely different backgrounds, each with its own mood and texture. But once I begin, intuition takes over and the process starts flowing naturally.

A small look behind the scenes of my botanical triptych «Venus Gardens». This piece became a special experiment for me because it was the first time I incorporated such a large amount of hand-crocheted lace into one artwork. The final composition grew into a collection of semi-abstract fantasy flowers, almost like plants that could bloom somewhere on an imaginary distant planet. The soft pastel palette brings a feeling of femininity, gentleness, and a touch of fairytale atmo

The creative process doesn’t always follow the original plan, and that’s often where the most interesting results happen. I initially imagined this triptych as a vivid contrast of blue and red. But once I saw the background develop, it felt too sharp, too visually intense.

A glimpse into the way my abstract, fantasy-like portraits are created. This collage shows the early pencil sketches, where I focus on proportions and anatomy, alongside the completed works in color. I never have a fixed vision of the final result or a pre-planned palette. Everything unfolds organically during the process, and the background I choose often plays a decisive role in how the character ultimately appears.

A comparison between my pencil sketches and the finished portraits in color. Bringing these imagined characters to life is always an engaging process. I rarely plan the color palette in advance, it usually comes together naturally as I work. Step by step, the drawing evolves into a complete, expressive piece.

A closer look at how I develop my abstract portraits. What’s interesting is that the idea doesn’t exist beforehand, it reveals itself as I work. I usually begin with a richly textured, colored background, created using water and diluted oil paint. From there, I sketch a simple anatomical structure of the head and paint it in a single hue, exploring different tonal values. This stage helps me build a strong foundation before moving into full color. Then I transfer the image on

My process often begins with building textured collage elements right on paper. I shape the composition first, then continue working into it with acrylic, adding details, forms, and a sense of rhythm. It’s an engaging, almost playful way of working, where the final result always holds a bit of surprise.

A behind-the-scenes look at how this earthy-toned triptych begins to take shape. I start by creating textured surfaces with fluid oil paint, then introduce hand-crocheted lace and continue building the composition with acrylic. Step by step, the layers come together, forming a rich, tactile piece.