Before the Worlds

Before I began building distinct symbolic worlds, I explored how inherited symbols, intuitive forms, natural materials, and place can carry memory and meaning.
These explorations shaped the visual thinking that later developed into Naive Symbolism and Emotional Cartography.

Ancestral Languages

*Inherited symbols and ancient visual systems explored as carriers of cultural memory.

  • I studied recurring signs and symbols across ancient cultures, exploring how visual languages encoded ideas of cycles, nature, movement, protection, fertility, and human relationships with the world.

  • I explored how symbolic systems move beyond the drawn sign into physical form, ornament, ritual objects, and material culture.

  • I explored the traditional language of pysanky, where symbols, colour, and ritual transform the egg into a coded image of life, protection, and renewal.
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Naive Vision

*Naive art explored as a way of seeing, stylising, transforming, and constructing meanings.

  • I explored how animals, birds, fish, and imagined creatures could become symbolic beings through simplification, ornament, stylisation, and colour. These early studies became an important step towards developing my visual language of Naive Symbolism.
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  • I studied Ukrainian naive art as a living visual tradition in which personal imagination, folk memory, and symbolic form remain inseparable.
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  • I studied the visual principles, methods, and stylistic approaches of individual naive and symbolic artists, testing them through my own subjects and compositions to understand what could become part of my own visual language.
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  • I began with a single word and transformed it through observation, stylisation, drawing, symbolic interpretation, and a short poetic text into a visual carrier of emotional meaning.
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Visual Thinking

*Observation, art and cultural experience used as material for visual research and symbolic thinking.

  • I transform existing objects through material and visual interventions, turning the familiar into something singular and personal.
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  • I translate my experience of cinema into symbolic images, using painting to explore what remains after the narrative ends — an atmosphere, an emotion, an idea, or a visual memory.
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  • I respond to exhibitions, artworks, and cultural events through symbolic images, using my own visual language as a way of entering into dialogue with ideas shaping contemporary art.
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Design Systems

*Graphic and brand design as a long-term practice in building identity, visual structure, and communication.

  • I created logotypes as the most condensed form of visual identity, where meaning, typography, and proportion come together in a single recognisable sign.
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  • I developed complete identity systems in which typography, colour, imagery, and graphic rules work together as a coherent visual language. These projects required building structures that remain consistent across publications, environments, and communication.
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  • I translated ideas into visual communication through print, digital media, publications, packaging, promotional materials, and web interfaces, organising complex information into clear, memorable, and engaging visual experiences.
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Place as Language

*Natural materials, found forms and places explored as carriers of memory, time and belonging.

  • I created wearable objects from natural materials, exploring how fragments of landscape can move with the body and become part of personal identity.

  • I transformed found natural materials into functional and sculptural objects, allowing their existing textures, irregularities, and forms to guide the making process.

  • I brought natural and constructed materials together in a sculptural threshold where landscape, memory, and accumulated time occupy the same form.
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