Artworks

I paint abstraction as an encrypted letter. Hidden in the fields of color — from darkness to light — is a personal system of signs: number sequences, DNA strands, outlines of constellations, pseudo-script. These signs travel from work to work and change their meaning depending on the color they are immersed in: the same message sounds different in the black "beginning" and in the red "fire".

I am drawn to the prime elements — states of matter and consciousness, the cyclical nature of decay and birth, the passage of chaos into order. Color carries emotion, the hidden code carries thought; together they leave the viewer space to complete their own image. What matters to me is the very moment when meaning still wavers — between sign and pure color, between what you see and what you recognize.

For me, "Semper in Motu" is not about motion as a universal idea — it is about the sign. The same cipher I hide in Codex Elementalis lives here as well, but I weave it into gestural fields of color that never let it settle. I want the viewer to sense the presence of the code before they have time to read it.

In Codex I shelter the sign in depth and darkness — here I hide it in speed. It is a different kind of concealment, and exactly that connects these works to Codex for me: outwardly dissimilar, they are written in the same language.

The Lux series of paintings reflects the idea that light and darkness are inextricably linked. These are two sides of the same coin that cannot exist separately. The light we see shines brighter because of the contrast with the darkness around it.

It's the same with human emotions: without the experience of sadness, joy becomes less valuable. Each painting in the series shows a different aspect of this interplay between light and dark, inviting the viewer to consider the balance of these two forces in their own lives.

With "Eternal Return" I inscribed a cipher into painting for the first time. The alchemical cycle — nigredo, albedo, citrinitas, rubedo — became for me not a theme but a structure: four states as four phases of any change, whether the decay of matter or a movement of consciousness. Yet the main discovery of this work turned out to be not the cycle but the cipher itself — number sequences stitched into the painting as a layer the viewer senses at once. This is how the language I still paint in was born; later it grew into the Codex Elementalis series.

The project received the K. Golovkin Prize (third place, Contemporary Art nomination) and was shown at the "Between Light and Darkness" regional exhibition (Samara, Tolyatti, Syzran, Novokuybyshevsk). View

"Hide and Seek" is an intermedia dialogue between two artists: the abstract painting of Yuliya Latysheva and the photography of Anastasia Ivanova. In this series of diptychs, what is born on the canvas as free gesture and color takes flesh in the photograph — in the texture of stone, root, crack. Each pair is linked by a hidden sign — an "emoji" the viewer looks for both in the painting and in nature; the passive observer becomes an explorer, and the boundary between abstraction and reality dissolves.

The project grew out of the lockdowns of 2020–2021, when on-screen communication replaced live contact and the emoji became a universal language of closeness at a distance: "Hide and Seek" asks what happens to meaning when it detaches from the body and dissolves into a stream of signs.

The series was shown at the Strelka Hall exhibition space, at the "Against the Current" contemporary art exhibition (Novoye Prostranstvo gallery) and at exhibitions of the Creative Union of Artists, Samara. Photos and reviews: view