Every person is a traveler, with a suitcase in his hand; it is in this suitcase that he packs his impressions, recollections, hesitations, questions, hopes, expectation, fears etc. Let us imagine a man, wearing a black hat and a black cloak, who opens his suitcase, and, then, all of a sudden, we see - the sea, a sand beach, gulls: The man is a film director, and his suitcase - is a reel of film, such is my conception of the art of cinematography.
My next six works are closely linked with the cinema art. In my two first works, which bear the name 'The Magic of Cinema', I declare my attitude towards the cinema art and its essence, whilst introducing my own vision of images. A strong connection between the visual picture and the meaning its name implies is of particular importance. They are like two magnets, between which attraction appears. Such an effect serves as a ground for the spectator's thinking.
The set of paintings represents a concept of the idea - a single large formula, which I use to solve problems, by substituting different data into it. The formula contains interrelationships between the film and the real life, the screen and the surrounding, reality and unreality, as well as the struggle between them, in which there are no winners or losers. I watch an unshakeable and imminent reality, as well as an artificially created life in the film, serving it via my vision.
In each work the spectator can view the interrelationships:
'The Image of Well-Being' - the relationship between the appearance and the internal world of the person;
'The Direct Link' - the relationship between the author and the spectator;
'Female Heroism' - the relationship between a lady-politician and the surrounding world;
'Idolatry' - the relationship between people and idols they have created, with their roles changed: people are taking places on the screen, whereas the idol becomes a reality.