It began as a small sketch depicting the silhouette of a nude woman falling downward, entangled by several geometric figures. Later, I developed the composition, making it denser and more complex, and painted it in color on a large format.
The main visual accent is the contrast between sharp and smooth forms. The lines of the female body, in opposition to the strict lines of the triangles, create tension, emphasizing its fragility and further "sharpening" the geometry of the triangles. Compositionally, the triangles resemble broken glass; this is also shown in color: some of them are painted as semi-transparent. At first glance, this creates a somber context: the woman is shattered and falling downward.
The sensation of flight, or rather the moment of free fall, is conveyed through the curved, inverted body of the woman: balance is completely lost. The triangles could serve as temporary support, but the woman does not seek to grasp them. She no longer seeks support.

Notably, there are six triangles. Arranged three on each side, they resemble wings. This is a reference to the figure of the "Six-winged Seraph," who was an angel; and angels, as is known, have the ability to fall from heaven because they possess free will, which makes the act of "falling" a kind of "side effect" of freedom.
Two interpretations: the fall due to completely shattered supports and the plot of the "fallen angel" can be correlated as form and content, respectively. Then, "broken glass" acts not as a metaphor of destruction, but as the discovery of one's own freedom acquired through the fall. Here, autonomy acquires a free flow, which is expressed in the smooth and intricate forms, as if enveloping the central element of the work.
Overall, the composition of the painting has an indeterminate form – it is an attempt to deprive the viewer of visual grounding. Together with the emphasis on the completely nude female body and the pointed wings, the work captures a moment of piercing freedom.

When I completed the graphics of "Seething Absence", it became obvious to me that it was similar to another work done many years ago, "The Eye" from 2003.
The first thing I noticed was the mirrored arrangement of the compositions. But more on that later. First, let's talk about each work individually.
"The Eye" (2003)
The monochrome, black-and-white graphics depict a flowering plant. The bud has opened: an eye peeks out, examining its root system. The phrase "look at the root" comes to mind – in the plot of this work, it is captured literally and, apparently, means an attempt to see your own essence, in other words, "find your beginning" or answer yourself "what is the reason for me?". Such a statement of the question and immersion in deep reflection were natural for my age in 2003 — I was only 19 years old. 
It is quite interesting that the graphics became a kind of premonition of further events in my life: six months after the creation of this work, I had to go far away to another city, as an adult, independent unit. The move completely changed my usual lifestyle and environment. This led to the discovery of one's own "torn out" and "de–energized", but also the opportunity to start everything from scratch, to become this very "beginning" and "reason" for one's own story. Such an interpretation is similar to an attempt to answer a question posed from within, by events from the outside. But it would be more accurate to designate this as an increase in the relevance of the request for one's own beginning through fateful changes.
So, the "Eye". A plant with an eye-flower is depicted on a black background. There are few white spots, they seem to win back and assert their right from the gloomy environment, forming a sharp contrast, which enhances the drama of the plot. The central and brightest place is the eye, as if it had broken through from the darkness, finally opened, seeing something extraordinary in front of it. The moment of surprise, when the flower has not yet realized what is in front of it, but has already surreptitiously guessed, is captured on paper. 
The "Eye" technique is a spot and a line. With the help of the continuous contour of the plant's shape, the closed composition of the stem is successfully conveyed, the ends of which converge and close in the flower's view of its own root. It is obvious that a ring is depicted in front of the viewer, along the circular trajectory of which the eye wanders.

And there is no way out, the whole drawing is located strictly within the boundaries of the sheet.: it rests against the edges, creating a feeling of crowding and hopelessness. The answer to the question regarding one's own origin has not been found, instead, a deceptive idea of the answer (the root) arose, which led to the formation of an illusion of a higher order — about one's own integrity. This is how, apparently, walking in a circle begins - a vicious circle of reflection, which can be called a "small circle", as opposed to Nietzschean eternal return.
The new work "Seething Absence" demonstrates a completely different structure. As I have already mentioned, compositionally it is like a mirror image of the "Eye" graphics, that is, its opposite. The paper does not depict a plant, but something similar. Through the botanical form, a metaphor is demonstrated for another representation – a view of the absence of its own beginning. On the sheet, the composition is not completely positioned, but goes beyond the boundaries, which creates a sense of movement and duration.
The graphics technique is point-based. It is dynamic, it has a lot of air and rhythm, it works for a general feeling of lightness and softness. The dots also create a foam effect on the image, which supports the idea of bubbling as a process of transition from one state to another, which generally indicates the idea of the work as an image of the boundary of non-existence / being, as pulsating.
In general, the graphics are not contrasting, they are calm, measured, without sudden changes and fluctuations in the tone and details of the composition. Nothing screams or "climbs" into the foreground, the bubbling of many small elements within the oval-shaped contour, which seem to be in a cradle, happens as if by itself, without effort and drama.
These graphics are abstract. Instead of the literal eye in the central part of the image, there is its metaphor: the eye no longer just looks, but sees the absence of its origin in the place, the gap, the opening of the ring depicted earlier in the work "The Eye". The discovery of absence entails its own extension to infinity, represented as a multitude of possibilities and probabilities of whatever, in the form of an innumerable number of small round elements. There is no integrity here, but only a bubbling potency.

Pantone named the color of 2026 "Cloud Dancer" (cloud dancer or dancer in the clouds). The choice of color in this case is not just an indication of the direction of the color palette in the fashion industry, but a determination of the direction of the social mood in the coming year or the identification of what is already present in society, but is not yet obvious. The PANTONE organization sets a conceptual vector — color, in accordance with which it is recommended to build a creative process based on the symbolic and emotional dimension of the proposed shade, when creating new works in various fields, usually in the creative industry (fashion, design, advertising, art, etc.). The recommended color sets a symbolic frame, emotional tension and the system of signifiers through associations, metaphors, its history, etc.

What about the color "Cloud Dancer"? First of all, it is a neutral color — cloudy white. White — in Goethe's theory of color (the phenomenology of color) is not color, but light. This is a kind of source code, a kind of "white sheet". The beginning, the potency for the rest of the colors is an optimistic note.
In Newton's theory, white is the result of mixing all the other colors of the spectrum. From this point of view, white is associated with "white noise": the result of a dense mixture of varieties, of which there are so many that they are no longer perceived as a multitude. Here we can draw a parallel with the fatigue of the information background, the overload of events and news in the Internet environment and everyday life. Fatigue is also indicated not by pure white, but by grayish-white — in the "Cloudy White" version of the color. Gray is a passive, indifferent, boring color (Goethe); it is also a neutral point on the achromatic axis (Goering, opponent theory) — this neutrality can be defined as "not this, not that" (not black and not white). It is also not a zero point on the axis, but not as an absence, but as being "in between" — a point of potential choice, but for now pauses and waits, from the point of view of dynamics. "Cloudy white" is closer to white, so the choice seems to have already been made, the point of neutrality is shifted, but it's all about light. The color remains neutral.
Further, gray is white with reduced brightness (Newton, physics of color); in this interpretation, grayish-white is not passive or boring, but moderate, restrained, modest — not "flashy". Still, "cloudy" is not gray, but grayish—white - it's white + a little gray, as if the expression "there's a fly in the ointment" is expressed in color, which indicates that something has clouded the bright future, which is predicted to be cloudy — here is an indication of a pessimistic note.

It is especially worth paying attention to the name of the recommended color — "Cloud Dancer". Pointing to "cloudy" demonstrates an imaginary picture of the heavens. Airy and fluffy clouds — freedom — soft and cozy, undisturbed, as if it had not been won back, but received as a gift. This otherworldly freedom is one that arises not as a result of overcoming difficulties, but of avoiding them, in other words, escape into an illusion; dance in this case expresses a forced carefree attitude; lightness is like taking responsibility for consequences that you are not the cause of. You might think that clouds are something about flying, but if so, then it's impossible, since they don't fly during thick clouds. Nevertheless, it is not a ban on flying, but forced waiting (Goering) in a state of moderation and calm (Goethe), which is possible if you trust what is happening. But what is the basis for such trust? Maybe it is possible only by clouding the mind? ("sky-high")
And yet, instead of flying, PANTONE suggests dancing, but "cloudy". In modern reality, the definition of "cloud" is associated with cloud storage on the Internet. This is a place, a space where information can be stored, and although in one interpretation this color may indicate general fatigue from information noise, nevertheless such fatigue becomes an integral part of every person's life, as a result of which one can imagine a "head in the clouds", which also gives rise to many related ideas — from "fog in the head, "to the possibility of the human mind reaching for heaven, even if it is still "vague." Although vagueness may be associated with the inability to see the future due to limited ideas about it. In conditions of total fatigue, dancing looks strange and rather resembles the dance of a patient in a psychiatric clinic, for whom the serenity that comes after fatigue is not a virtue, but a diagnosis. On the other hand, dance is a creative process, a way of self—expression; then information noise and large amounts of data (cloud storage) may be offered as a material for creativity.
In general, I would characterize such a color recommendation as optimistic, indicating the possibility of a pause due to restraint and modesty. But the pause is not as a state of "fading", but as a dynamic process (dance), in order to extract the potential for work from the global "noise".
Also, an indication of moderation is the possibility of detecting redundancy in different areas of life, in general, and, apparently, in order to put one's emotional state in order, in particular.
I would describe the color "Cloud Dancer" as exalted asceticism. Passion in dancing with moderation. It's about self-discipline, of course.