2024 | Oil on canvas | 40x50 cm
IN LAST YEAR'S SNOW
«Sometimes a childhood fairy tale is the coldest place of all.»
2024 | Oil on canvas | 40x50 cm
IN LAST YEAR'S SNOW
«Sometimes a childhood fairy tale
is the coldest place of all.»
is the coldest place of all.»
The painting turns to the memory of childhood, reimagined through an adult sense of isolation. The familiar fairy-tale world becomes an enclosed space — fragile, cold, cut off from reality by a boundary that is transparent yet insurmountable. The heroine finds herself inside this world not as an observer but as a captive, deprived of the ability to step out of her role.
The plasticine conventionality of the characters heightens the sense of absurdity and uneasy naivety: the fairy tale no longer comforts — it watches. The work speaks of a state in which the past keeps revolving around us, refusing to let go, turning nostalgia into a trap. In an interior the painting works as a multilayered accent — visually compelling yet emotionally unsettling, prompting a dialogue between memory, fear, and irony.
SOLD
The plasticine conventionality of the characters heightens the sense of absurdity and uneasy naivety: the fairy tale no longer comforts — it watches. The work speaks of a state in which the past keeps revolving around us, refusing to let go, turning nostalgia into a trap. In an interior the painting works as a multilayered accent — visually compelling yet emotionally unsettling, prompting a dialogue between memory, fear, and irony.
SOLD
The painting turns to the memory of childhood, reimagined through an adult sense of isolation. The familiar fairy-tale world becomes an enclosed space — fragile, cold, cut off from reality by a boundary that is transparent yet insurmountable. The heroine finds herself inside this world not as an observer but as a captive, deprived of the ability to step out of her role.
The plasticine conventionality of the characters heightens the sense of absurdity and uneasy naivety: the fairy tale no longer comforts — it watches. The work speaks of a state in which the past keeps revolving around us, refusing to let go, turning nostalgia into a trap. In an interior the painting works as a multilayered accent — visually compelling yet emotionally unsettling, prompting a dialogue between memory, fear, and irony.
SOLD
The plasticine conventionality of the characters heightens the sense of absurdity and uneasy naivety: the fairy tale no longer comforts — it watches. The work speaks of a state in which the past keeps revolving around us, refusing to let go, turning nostalgia into a trap. In an interior the painting works as a multilayered accent — visually compelling yet emotionally unsettling, prompting a dialogue between memory, fear, and irony.
SOLD
