Drawing Unlimited, 2015, mixed media (pen, ink, acrylic paint, roller, cut-out shapes, collage)

Work produced by cutting up and reassembling the initial artwork into a new one. Contrary to Utopia project, here the initial part of work was done randomly, but the second part involved application of compositional logic. The piece is an exploration of the ways to create artwork of variable dimensions. 

Six Instances, 2015, stencilling with printing ink and roller

Random Monoprints, 2015, mono printing with cut objects, stencilling

Utopia, 2015, paper cut, digital

A process-based piece looking at the notion of utopia as a social construction that fails to bring the things to order when applied to real life. To illustrate the concept I used two equally sized black and white paper sheets cut up and assembled back (both processes done randomly). The resulting collage was then photographed and converted to a sharp-edge digital graphics. 

Urban Sketches, mixed media, 2007 - ongoing

Drawing on location is one of my ongoing projects - I simply do as many location sketches as possible, wherever possible. I have also been a member of an international sketchers collective called Urban Sketchers since the very beginning of the group in 2007, taking part in group exhibitions, events and publications.

Visit Urban Sketchers London

Low Tide, Phi Phi, pastel, 2013

The piece was done during a rapid southern sunset on the small island in Thailand. As the drawing went along, the evening gradually got darker and darker, forcing me to add more and more darker tones to the work, which I found particularly interesting, because this way the environment itself has instructed me on decisions about my work.

The series includes drawings inspired by the participants of Imogen Heap's Reverb festival.

Includes the drawings:

- Klavikon (Leon Michener)

- London Contemporary Orchestra, Nick Ryan's Synaesthesia

- Mira Calix, Natures Reworked (with Oliver Coates and Quayola & Sinigaglia)

- The Norwegian Girls’ Choir, Ro-Uro

Project: One Day in the Life of Urbino
Place: Piazza della Republica, Urbino, Italy
Method: Stop frame animation
Tools: charcoal, eraser, camera phone

Having spent the whole day on Piazza della Republica in Urbino from morning till late night, I have used a method of drawing, erasing and taking pictures of the process to record the ongoing activity of the piazza. Once the drawing was finished, I have created a stop frame animation from resulting sequence of photos.

While drawing, I discovered that many people, both tourists and from Urbino have taken my work almost for a street performance. They were talking to me, taking pictures, asking to buy the drawing and advising what to draw. If Urbino was a stage on that day, then I was its actor!

The project was done as part of Werkplaats Typografie and ISIA Urbino Summer School in July 2014.

Hotel staircase, linocut, 2012

The work is based on the photo of the actual staircase in Paris, in the hotel where I stayed. It was an experiment of how the linocut technique facilitates working with form, allowing for easy access to highlights and therefore altering the way the shadows evolve.

The Future We Have All Been Waiting For, Moonscape: 56stuff.
Charcoal, paper cut, pen and ink, ruler, pencil, ballpoint pen, 2014.

A series of drawings as a visual response, and to go with, a release by the electronic musician Moonscape.

Each of the nine drawings were created in the time limit of the corresponding track of the album and follow each its unique visual rule, instructed by the music. This way creation of drawings also became a performance, that can be done live during the live performance of the music.

Crowd tracking on St. Pancras Station, pencil, 2014

These drawings analyse the shape of moving crowd - my approach was to try and record the shape that crowd leaves on the retina (as opposed to its spatial quality), by adding in the units that crowd consisted of. It was interesting to see the dynamic, vibrating, almost breathing formations emerge from the paper surface.

Andrey Dubrosvki, Limericks: Petropolis, 2013. Charcoal.

Translation: Daniil Alexandrov
Editor: Alexander Ilyin

A series of 56 iconographic illustrations and design for a book of short poems by a St.Petersburg-based author.

The Hand, graphite powder, hand, 2012

The work explores the notion of absence by blocking out the surrounding space (in this case, the hand, which is removed from the artwork, leaves the graphite tracing around it).

Project: Test animations for Urbino project
Method: Stop frame animation
Tools: charcoal, eraser, camera phone

Euston Station Experiment, pencil and graphite powder, 2012

In this drawing I wanted to study the space of a busy station hall through human motion. In order to access this motion, I reversed the usual process and began from moving parts, drawing the lines that would follow wherever the people would go. Once the network of human tracks was established, I finished up the rest of environment as a usual observation.

It was interesting to see in the end that those people who stood still somehow knew where the 'islands of stillness' were between the motion tracks, and gathered on those.

Drawings as signs, pencil, 2012 - ongoing

These are the three-second drawings. By inroducing such a rigid constraint - with time hardly enough to draw one or two lines - the output becomes a highly concentrated, crystallized, almost hieroglyphic representation of visual experience.

I like to do quick drawings anywhere I go – I often carry pencils and a pocket box of watercolours with me, especially when travelling.

Regents Canal, monoprint, 2012

A triple monoprint produced from the same plate, by gradually removing the ink from it: a process reverse to the one later explored in the Phi Phi Low Tide drawing.

Includes: the three monoprints, original drawing and the monoprints combined.

Blind drawing series, ballpoint pen, 2012 - ongoing

These are the drawings I make without looking at the paper (method analyses the mechanics of how a moving point records visual experience).

Drawings for classical music, ballpoint pen, charcoal, 2014

This is an example of drawing from music (experience from a prepared situation, as opposed to drawing from sounds of natural environment). This is done during the classical music performance in St. Mary's Church in London.

Includes the music:

- Vivaldi, The Four Seasons and Concerto in C
- Telemann, Recorder Concerto
- Purcell, Chacony in G minor
 

Drawing vs Matisse Cut-outs, pencil, 2014

Here I was recording my emotional reaction to the cut-outs, trying to get myself out of the way. With the Blue Nudes, I have done a drawing which overlays the four images into one, trying to imitate a real-life retinal effect.