February in Reykjavik was as if from the lines of Pasternak’s verse saturated with monochrome-contrasting epithets. This residency was an invaluable experience where I felt as a sensory sponge insatiably absorbing dangerous and mysterious extremes of Icelandic nature, the variegated knowledge of fellow residents, and radical political changes in my country of birth, Ukraine. February 24 left an indelible imprint on my practice and identity.

Inspired by these influences, I worked on the balance between geometric shapes, such as a symbol of monads in philosophy, and fluid patterns of nature in drawing practice. Simultaneously, I was experimenting with the materiality of gelatine in printmaking.
Both methods brought unexpected exciting results. Here I printed and experimented with carbon transfer printmaking. Here, after a two-year break, I revive my drawing practice. Here, for the first time, I make a political statement through art practice.