My work uses abstraction as a material and perceptual language for atmospheric, bodily, and psychological states. Through layering, erasure, abrasion, veiling, glazing, and revision, I construct paintings that gather slowly rather than resolve immediately. Forms emerge, recede, and return altered, hovering between anatomy, landscape, cosmology, fruit, seed, vessel, and interior space.

I am interested in the threshold before recognition settles, when an image is active but not yet fixed. Rather than treating ambiguity as vagueness, I use it as a structured instability: a way of holding multiple associations active at once. Colour, pattern, surface pressure, and spatial relation become ways of organizing perception, asking the viewer to stay with an image long enough for it to change.

Informed by phenomenology, process-based thought, Ukrainian cultural memory, and sustained studio practice, my paintings approach meaning as something formed through duration, relation, and embodied looking. The work moves between image and environment, structure and atmosphere, control and dissolution.