It is my pleasure to announce that my autumn studio exhibition, Minimalism – Form as Poetry, is currently on view. The exhibition presents a considered selection of previously unseen photographic works from 2007, shown alongside the large-format triptych Proekt Unovisa (2014).
Together, these works form a meditation on the aesthetic and philosophical principles of minimalism—an inquiry into the language of reduction and the expressive potential of restraint.
The early photographic series revisits a period of quiet experimentation with the boundaries of perception. Through the disciplined use of line, shadow, and interval, these works explore how meaning emerges from absence, how stillness itself may become a kind of gesture.
In contrast, Proekt Unovisa expands these investigations into a monumental triptych that evokes the spirit of the early twentieth-century avant-garde. Its title, referencing Malevich’s collective, suggests an ongoing conversation with the legacy of Suprematism and the utopian search for pure form.
Across both bodies of work, the exhibition traces a continuum between minimalism and poetry: a space where visual structure becomes rhythm, and where composition, colour, and silence coalesce into a contemplative field.
Minimalism – Form as Poetry invites the viewer to engage not only with what is seen, but with the intervals between forms—those moments of still awareness where art and perception briefly coincide.
