"I was born in the Soviet Union in what is now called Ukraine. I loved to draw as a child; I even won several prizes. After high-school I went on to study economics, but wasn't satisfied with the possibility of a full-time future at the desk of a dull, dusty office. So I decided to try art seriously, which led me into the class of Konrad Klapheck at the Art Academy of Düsseldorf. Later, I went on to become a pupil of Shirin Neshat in Salzburg."
"Making art for me is an important process of creating impossible, imagined worlds.
Alien-like aesthetics, unearthly feelings and shapes – that is what I love to imagine and visualize. Of course, in my youth, just like everyone, I started with the things which surrounded me, but very soon felt dissatisfied with interpreting well-known visual facts.
The attempt to create all deviations imaginable and artefacts of unknown origin motivated me to compose utterly new universes."
How would you describe your art style?
"Bioism. Biofuturism. Paradise Engineering. Bioethical Abolitionism. My daily contemplation and statement is:
Bioism or biofuturism represents my attempt to create new living forms and a new aesthetics of future organic life. Bioism is a way to develop art objects which express visual possibilities of synthetic biology. Bioism is an effort to produce art based on vitality, multiplicity and complexity. I regard each of my works as a living being. Bioism extends life to lifeless subjects.
Personally, I believe that in the future, in the wake of a biological revolution, we will use living furniture, dwell in living houses, and travel in space using living stations. But the most exciting thing will be the ability of artists to work with living substances, thereby constructing new forms of life. The artistic act will acquire the practical sense of birth. Fantastical might be reactions of art object to its creator and surroundings. Art museums of the future could turn into zoological gardens, galleries into new life diversity funds, ateliers into biological laboratories.
Bioism aims to spread new and endless forms of life throughout the universe. Paradise engineering is an epiphany of new bioethics…
This manifesto, as I feel, will never be finished, as I am myself a biological process still working on it."
What is the key to making your installations?
"I am trying to avoid any primitive geometrics: no straight lines, even no lines at all, if possible. I am chasing after the collision between micro and macro on a daily basis.
Anything unknown or overly complex is immediately recognized by our inner eye as organic or somehow alive. Biology is the deepest and most complex information architecture of the world."
Church is a formal place. Is it stressful to create in such space?
"It depends on your inner expectations, hidden burdens, or how uncertain you are about your connection to the human universe. Personally, I have almost no idea about space, time and their wonders. An so when in a church, I feel like a curious child in a large and strange playground with has some sort of communication function.
I try to be respectful to it as an artist, but I do not forget about its entertainment side, the part about talking to a Deity. It is a bit like an XXL phone booth where while talking or trying to hear you can laugh too."
How much are you in control of the creation process and how much of the process is all bioism?
"Controlling chaos is a challenging venture. My inner ear and eye are all about to receive the possible unknown tune, to find unknown shape, which speaks to me and touches my imagination nerve. But it is not one way process where you act just like a mining machine: taking lucky gems of fascinations and throwing hell of waste of not interesting possibilities behind your back. Not for me.
I do combine fascinations with other minor possibilities to achieve not only pleasant tune, but kind of deviative revelation too. The most precious part of the work is to compose new world while you already feel how it should look like. Sometimes you have a daydream; sometimes it comes in the night while sleeping. But the certainty is – the more I create, the more blisses I get, where chaos is my partner in growing bioism."
Do you have fun creating, or do you get something else out of it, like meditation or communication with your vulnerable side?
"Drawing time is contemplation time. Also, I create while discovering myself – how far I could surprise my own self and how else the universe might surprise me - which involves all possible activities on this strange pathway. Sometimes it gets funny, indeed, and sometimes if I need more adrenalin I go out into the world and make an intervention."
What was your path to bioism? What did you try before it?
"The first steps were rather normal: I remember how happy I was about my half-drawing-half-painting of the tractor in the field for which I was praised in kindergarten.
Later I fell in love with drawing of landscapes, where I could sit in the grass for hours at a time, trying to draw nature's movements on the cardboard. After that I even made some portraits, but I was so dissatisfied, so bored with the dullness of any reproduced human face (including on photographs and videos), that I stopped. Exactly at that moment the shell of my egg broke and I emerged as a phoenix (or Godzilla). Which means that I was brought nearer to the secret of life. What is that? It is not to describe the existing one, but to compose a new one. That was the birth day of my bioism and bioethics."
When I was going through your IG I had a thought that bioism might be interested in homelessness in LA...
"But it was a contrary story: it was cold on the streets and lonely people where happy to receive any human touch, to hear the Christmas art-story of new born bioism and to play with little blue child of it.
The naked poverty on the beach of the Hollywood might cause by me a totally different approach – I have to imagine the philosophical aspects of bioism meeting with hypothetical Diogenes of Venice."