I was born in 1962 in Petropavlovsk-Kamchatsky, in the former Soviet Union — a land of volcanic silence and elemental beauty. The stark landscapes of Kamchatka taught me early on to see harmony in simplicity: the curve of a petal, the texture of stone, the geometry of shadow.

In 1997, I emigrated to the United States, bringing with me not only a camera, but a way of seeing — shaped by Soviet constructivism, tempered by nature, and refined through years of study and practice. Since the age of 18, photography has been my way of building worlds — not just capturing moments, but composing emotional architecture.

My academic path led through economics, architecture, and art history, giving me tools to understand structure, rhythm, and the language of visual form. I’ve also written scripts for documentary films, exploring how images speak when words fall silent.

My artistic compass is rooted in Constructivism and the Bauhaus — movements where form serves function, and clarity becomes strength. I’m inspired by Rodchenko’s dynamic angles, Popova’s bold compositions, Stepanova’s visual rhythm. Kandinsky’s color harmonies, Malevich’s radical minimalism, and Mondrian’s balance of tension and order continue to shape my visual thinking. I also admire Pollock’s emotional rawness and the photographic mastery of Ansel Adams, Edward Weston, Moholy-Nagy, Man Ray, and Cartier-Bresson.

Today, I no longer chase distant horizons. I find meaning in the nearby — the light on tree bark, the silence of a park, the curve of a vase. Photography, for me, is not technique. It’s attention. It’s the art of slowing down and seeing what’s already there.

Each image I create is a dialogue between light and form, emotion and abstraction. I aim to strip away noise and ego, allowing the subject to speak in its own voice. A good photograph doesn’t just show — it resonates. It becomes a presence.

This is the art of seeing. And it’s what keeps me looking.