Material properties play an essential role in the development of my projects. From the very beginning, my practice has been deeply hands-on. I was raised in a family of craftspeople and educated within an academic system that still strongly follows post-Soviet principles, placing a strong emphasis on craftsmanship and technical skill.

While some artists choose to work with a signature material, I try to avoid limiting myself to a single material or technique. Instead, I see the continuity in my practice lying in the thought process that transforms ideas into spatial sculptures rather than in the materials themselves.

I have great respect for materials as they embody generations of knowledge, experience, and craft. At a time when many artists use digital technologies to translate forms into physical objects, I choose to make most of my work by hand, seeking industrial look and precision while allowing small imperfections to give the object its character and presence. In most cases, I fabricate every component of my sculptures myself, which often requires learning new manual techniques and acquiring new skills along the way.

Every material carries its own history and a network of cultural associations that can already establish a narrative framework before any intervention. Stainless steel, for example, is an incredibly durable material. It is cold, impersonal, and widely used in public infrastructure and environments designed to withstand constant wear and heavy use. It is also commonly associated with institutional architecture, including prison furniture and other forms of controlled environments. Simply choosing to work with stainless steel, it already activates these associations, allowing the material itself to contribute to the meaning of the work before the viewer even begins to interpret its shape.