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OIL PAINTINGS
I turned to oil painting because I wanted my work to feel monumental—like something you’d find in a museum, radiating depth, weight, and timelessness. With oils, I can achieve a level of realism that feels almost supernatural, even when exploring metaphysical or surreal themes that defy language.
As a self-taught artist, I’ve spent years refining my technique, deeply inspired by the Old Masters. Most of my paintings begin with a grisaille underpainting—a monochromatic study of form and contrast. From there, I build layer upon layer using transparent glazes, allowing light to pass through and breathe life into the image. This meticulous process creates a luminous, dimensional quality that no other medium can replicate.
In some works, I take it even further, sculpting the surface with texture—so that light and shadow don’t just appear on the painting, but within it. These subtleties—the way light shifts through the layers, the physical presence of the paint—can only be fully experienced in person. Each piece becomes an immersive event, pulling the viewer into its world.
This gallery brings together my most intricate and emotionally charged oil paintings. Every canvas is a labor of time, discipline, and vision. And this is just the beginning. I’m now entering a new phase—bringing to life ideas I’ve been dreaming about for years, visions that are only now becoming possible as my skills evolve. What’s coming next will be unlike anything I’ve done before—works that push the boundaries of what oil painting can express. Stay tuned.
For inquiries about the price or availability of original paintings, please visit the Store or reach out via the Contact page. Fine art prints are available for selected works.
Sardonic Smile
24" x 30" / 61 cm x 76 cm, 2026
This is a very important painting to me. With it, I constellate my coming back to myself as an artist. I went through a horrible period in my artistic life when I tried to fake it and paint things that meant nothing to me. I tried to paint so-called beautiful things, appealing things, or things that had selling potential… That hurt me badly. I tried to be what I am not, and my whole personality started changing for the worse.
None of those pretty paintings were ever sold - they are generic and overpopulated. I even painted a few pet portraits; thinking about that makes me want to throw up. I feel like I have been betraying myself and the depth that I have been developing through proper internal hard work for decades.
With this painting, I am coming back to myself, and I couldn’t be happier. The idea came to me 8 years ago, right before my full-of-shame “period of beauty,” and I didn’t paint it then. Instead, I started painting flowers and other things. But I always keep my truthful ideas inside me, and so did this one - it kept brewing in my head and finally found the time and skill to be released.
The idea itself was simple: I learned what tetanus is and what it does to people, and that water hemlock causes a similar effect…
This is a very important painting to me. With it, I constellate my coming back to myself as an artist. I went through a horrible period in my artistic life when I tried to fake it and paint things that meant nothing to me. I tried to paint so-called beautiful things, appealing things, or things that had selling potential… That hurt me badly. I tried to be what I am not, and my whole personality started changing for the worse.
None of those pretty paintings were ever sold - they are generic and overpopulated. I even painted a few pet portraits; thinking about that makes me want to throw up. I feel like I have been betraying myself and the depth that I have been developing through proper internal hard work for decades.
With this painting, I am coming back to myself, and I couldn’t be happier. The idea came to me 8 years ago, right before my full-of-shame “period of beauty,” and I didn’t paint it then. Instead, I started painting flowers and other things. But I always keep my truthful ideas inside me, and so did this one - it kept brewing in my head and finally found the time and skill to be released.
The idea itself was simple: I learned what tetanus is and what it does to people, and that water hemlock causes a similar effect…
Virgin Mary in the face of death
16" x 20" / 41 cm x 51 cm, 2023
This is my representation of the 17th century Greek icon. It is the only icon of Virgin Mary where she is gently holding the crucifixion instead of being pictured with Jesus as a child.
For me the original greek name of this icon «Παναγία του Χάρου» which means “Virgin Mary of Charon” is very interesting since it shows how the old greek pagan tradition resonates with early Christianity of the times of the Byzantine Empire. Here Jesus is compared to the Greek mythological character Charon who is a psychopomp, the ferryman of the Greek underworld. He carries the souls of those who have been given funeral rites across the rivers Acheron and Styx, which separate the worlds of the living and the dead. Jesus inherits the psychopomp role which in greek tradition was not to judge but to guide the deceased and Jesus leads them to heaven.
The Virgin Mary facing her crucified son is revealing the peace she found with her invincible faith in God and trust in his plan, so the crucifix symbolizes the everlasting hope for salvation, gaining eternal life, resurrection and victory over death.
The victory over death is manifested also by the lilies on the icon. In the 1940s one woman was praying in front of this icon and got healed. In gratitude she left lilies on the icon. After these lilies withered they came back to life in a year and started blooming again. Since then every year people on island Leipsoi in Greece where the original of this icon is located witness the “miracle with lilies”.
This is not the first time this icon occurs on my mind, my first attempt to paint it was in 2007 when I was 14. For some reason I have been always fascinated with this particular imaging of the Virgin Mary and Jesus Christ and maybe one day my skills will match the feelings.
This is my representation of the 17th century Greek icon. It is the only icon of Virgin Mary where she is gently holding the crucifixion instead of being pictured with Jesus as a child.
For me the original greek name of this icon «Παναγία του Χάρου» which means “Virgin Mary of Charon” is very interesting since it shows how the old greek pagan tradition resonates with early Christianity of the times of the Byzantine Empire. Here Jesus is compared to the Greek mythological character Charon who is a psychopomp, the ferryman of the Greek underworld. He carries the souls of those who have been given funeral rites across the rivers Acheron and Styx, which separate the worlds of the living and the dead. Jesus inherits the psychopomp role which in greek tradition was not to judge but to guide the deceased and Jesus leads them to heaven.
The Virgin Mary facing her crucified son is revealing the peace she found with her invincible faith in God and trust in his plan, so the crucifix symbolizes the everlasting hope for salvation, gaining eternal life, resurrection and victory over death.
The victory over death is manifested also by the lilies on the icon. In the 1940s one woman was praying in front of this icon and got healed. In gratitude she left lilies on the icon. After these lilies withered they came back to life in a year and started blooming again. Since then every year people on island Leipsoi in Greece where the original of this icon is located witness the “miracle with lilies”.
This is not the first time this icon occurs on my mind, my first attempt to paint it was in 2007 when I was 14. For some reason I have been always fascinated with this particular imaging of the Virgin Mary and Jesus Christ and maybe one day my skills will match the feelings.
Hecate. The Triple Goddess
36" x 36" / 91 cm x 91 cm, 2023
This painting is the Triple Goddess Hecate, which is revered in three forms - "Virgin", "Mother" and "Crone".
This corresponds to the three stages of a woman's life and three phases of the Moon: The New Moon,
the Full Moon and the Old Moon. The Triple Goddess is also to be identified with Greek lunar goddesses: Artemis
(the virgin), Selena (the mother) and Hecate (the crone). The Triple Goddess is an image-archetype, which incarnates throughout the ages in different cultures under different names, several individual goddesses can be interpreted as
an embodiment of the Triple Goddess. The archetype incorporates personal traits and personal potential of every woman ever been born.
With this painting I wanted to show the importance of cyclicity in nature and in life. The Moon teaches us about natural periodicity and acceptance of our mutable nature, about perception of the world as ever-recurring events. By the astronomic factors - the Earth-Moon system orbits the Sun are conditioned the processes of cyclicity in nature, circulation of matter and energy, repetitive sequences of conditions, processes, and states. It also affects people's mental state, especially women, whose lives and neurohumoral regulation are most susceptible to cyclical changes. The Moon transits through the signs of the zodiac and is the fastest celestial body in astrology.
The moon sign speaks about the emotional world, symbolizes the feminine principle, emotions, instincts and intuition. During the 28 days of its orbit it is the position of the Moon that will affect a person's mood and emotional state.
Using the image of Hecate I wanted to create a sense of natural and mental processes, that have a certain level of mystery in people's minds. Hecate is the goddess of the Moon, night, the Underworld, magic and witchcraft.
With this painting I tried to induce a feeling of mystery and mystique, to make the viewer feel the hidden forces that affect our lives, the depth and infinity of space, in which celestial bodies are located is equal to the depth and infinity of our unconscious mind.
When painting the picture, I paid special attention to creating a texture that would look like the surface of the Moon. There were many layers of transparent paint in the glazing technique.
This painting is the Triple Goddess Hecate, which is revered in three forms - "Virgin", "Mother" and "Crone".
This corresponds to the three stages of a woman's life and three phases of the Moon: The New Moon,
the Full Moon and the Old Moon. The Triple Goddess is also to be identified with Greek lunar goddesses: Artemis
(the virgin), Selena (the mother) and Hecate (the crone). The Triple Goddess is an image-archetype, which incarnates throughout the ages in different cultures under different names, several individual goddesses can be interpreted as
an embodiment of the Triple Goddess. The archetype incorporates personal traits and personal potential of every woman ever been born.
With this painting I wanted to show the importance of cyclicity in nature and in life. The Moon teaches us about natural periodicity and acceptance of our mutable nature, about perception of the world as ever-recurring events. By the astronomic factors - the Earth-Moon system orbits the Sun are conditioned the processes of cyclicity in nature, circulation of matter and energy, repetitive sequences of conditions, processes, and states. It also affects people's mental state, especially women, whose lives and neurohumoral regulation are most susceptible to cyclical changes. The Moon transits through the signs of the zodiac and is the fastest celestial body in astrology.
The moon sign speaks about the emotional world, symbolizes the feminine principle, emotions, instincts and intuition. During the 28 days of its orbit it is the position of the Moon that will affect a person's mood and emotional state.
Using the image of Hecate I wanted to create a sense of natural and mental processes, that have a certain level of mystery in people's minds. Hecate is the goddess of the Moon, night, the Underworld, magic and witchcraft.
With this painting I tried to induce a feeling of mystery and mystique, to make the viewer feel the hidden forces that affect our lives, the depth and infinity of space, in which celestial bodies are located is equal to the depth and infinity of our unconscious mind.
When painting the picture, I paid special attention to creating a texture that would look like the surface of the Moon. There were many layers of transparent paint in the glazing technique.
Ares
36" x 48" / 91 cm x 122 cm, 2021
The Greek god of war, battlelust and manliness.
On my painting I wanted to show Ares as a representation of war as an invincible force that causes overall destruction and brings chaos. While Athene represents the tactics and justice and the protecting side of the war, Ares represents
the violence and carnage, hostility. The golden serpent emblazoned on his shield was sacred to Ares and symbolizes sly and unjust war tactics. Ares advances at us, steady, insensate and inevitable.
On the background I pictured the symbols of war events throughout the history and the golden spear of Ares reflects
the nuclear bomb from the future.
The Greek god of war, battlelust and manliness.
On my painting I wanted to show Ares as a representation of war as an invincible force that causes overall destruction and brings chaos. While Athene represents the tactics and justice and the protecting side of the war, Ares represents
the violence and carnage, hostility. The golden serpent emblazoned on his shield was sacred to Ares and symbolizes sly and unjust war tactics. Ares advances at us, steady, insensate and inevitable.
On the background I pictured the symbols of war events throughout the history and the golden spear of Ares reflects
the nuclear bomb from the future.
F. W. Nietzsche. (From the Magnum Opus series)
16" x 20" / 41 cm x 51 cm, 2023
This portrait of Friedrich Nietzsche is part of my ongoing Magnum Opus Series, where I explore the transformative stages of individuation through a unique and experimental oil painting technique. Inspired by alchemy’s four stages—Nigredo, Albedo, Citrinitas, and Rubedo—I sought to capture Nietzsche’s complex psyche and philosophical journey. As I progressed through the layers, I questioned whether he ever reached the final stage of self-transcendence or if his encounter with the unconscious became too overwhelming. The painting remains unresolved, mirroring the enigma of Nietzsche’s own individuation process.
This portrait of Friedrich Nietzsche is part of my ongoing Magnum Opus Series, where I explore the transformative stages of individuation through a unique and experimental oil painting technique. Inspired by alchemy’s four stages—Nigredo, Albedo, Citrinitas, and Rubedo—I sought to capture Nietzsche’s complex psyche and philosophical journey. As I progressed through the layers, I questioned whether he ever reached the final stage of self-transcendence or if his encounter with the unconscious became too overwhelming. The painting remains unresolved, mirroring the enigma of Nietzsche’s own individuation process.
C. G. Jung as Magnum Opus
16" x 20" / 41 cm x 51 cm, 2023
The colors of this oil portrait represent the four stages of alchemical transmutation that Carl Gustav Jung compared with the processes of individuation. Nigredo (black phase), Albedo (white phase), Citrinatis (yellow phase), Rubedo (red phase). And then the gold flakes symbolizing the philosophical stone.
The great work signifies the spiritual path towards self-transcendence in its entirety, it is the creation of man by himself, the full and entire conquest of his faculties and his future, the perfect emancipation of his will - becoming one with yourself, with God and the World.
For me, it is such a miracle and such a joy to know that people like that lived and left after themselves such a grandiose imperishable legacy that continues to inspire and lead culture and society. These overall Artists help to clarify the chaos of thoughts and ideas and turn reserves of a person into gold.
The colors of this oil portrait represent the four stages of alchemical transmutation that Carl Gustav Jung compared with the processes of individuation. Nigredo (black phase), Albedo (white phase), Citrinatis (yellow phase), Rubedo (red phase). And then the gold flakes symbolizing the philosophical stone.
The great work signifies the spiritual path towards self-transcendence in its entirety, it is the creation of man by himself, the full and entire conquest of his faculties and his future, the perfect emancipation of his will - becoming one with yourself, with God and the World.
For me, it is such a miracle and such a joy to know that people like that lived and left after themselves such a grandiose imperishable legacy that continues to inspire and lead culture and society. These overall Artists help to clarify the chaos of thoughts and ideas and turn reserves of a person into gold.
72 Roses
36" x 48" / 91 cm x 122 cm, 2023
Another important memorial painting. I started painting it in 2007 in Los Angeles and finished it in 2023 in Cape Coral. This is my first serious oil painting, unlike as my watercolor paintings I wanted to make this one very solid, monumental, make it as a tribute. There are 72 roses on the painting – each bloom for a year of life. Roses begin with
a rapid young flowering, go through the stages of childhood, adolescence, adulthood, old age and death. The vase is cracked by a stuck cigarette...
I wanted to convey the atmosphere of the house where Hugh Warner (Marilyn Manson's father) lived taking care of his wife Barbara.
Another important memorial painting. I started painting it in 2007 in Los Angeles and finished it in 2023 in Cape Coral. This is my first serious oil painting, unlike as my watercolor paintings I wanted to make this one very solid, monumental, make it as a tribute. There are 72 roses on the painting – each bloom for a year of life. Roses begin with
a rapid young flowering, go through the stages of childhood, adolescence, adulthood, old age and death. The vase is cracked by a stuck cigarette...
I wanted to convey the atmosphere of the house where Hugh Warner (Marilyn Manson's father) lived taking care of his wife Barbara.
Firebird
24" x 30" / 61 cm x 76 cm, 2023
The painting was inspired by introduction into alchemical symbolism, where the phoenix plays an important figurative role corresponding to the final stage of the Great Work and is a symbol of the rebirth of the human soul.
Here I wanted to refer more to Slavic folklore and paint not a phoenix (traditional for western mythologies), but namely a Firebird. An interesting intersection of meanings has been discovered.
The Firebird is a character in East Slavic fairy tales, a miraculous bird, the purpose of the quest of various heroes from Russian fables (like a phoenix symbolizing a philosophical stone was a purpose of medieval alchemists). Catching this bird is a difficult challenge and is one of the main tasks that a father gives to his sons. Always only the kind-hearted youngest son manages to fulfill it.
The painting depicts the moment of the bird’s unexpected fright caused by the bird being just found by a viewer.
A firebird’s valuable ability is to turn everything into gold. But it is difficult to catch it, the bird is skittish and ready to fly away at the first suspicion of danger.
The painting was inspired by introduction into alchemical symbolism, where the phoenix plays an important figurative role corresponding to the final stage of the Great Work and is a symbol of the rebirth of the human soul.
Here I wanted to refer more to Slavic folklore and paint not a phoenix (traditional for western mythologies), but namely a Firebird. An interesting intersection of meanings has been discovered.
The Firebird is a character in East Slavic fairy tales, a miraculous bird, the purpose of the quest of various heroes from Russian fables (like a phoenix symbolizing a philosophical stone was a purpose of medieval alchemists). Catching this bird is a difficult challenge and is one of the main tasks that a father gives to his sons. Always only the kind-hearted youngest son manages to fulfill it.
The painting depicts the moment of the bird’s unexpected fright caused by the bird being just found by a viewer.
A firebird’s valuable ability is to turn everything into gold. But it is difficult to catch it, the bird is skittish and ready to fly away at the first suspicion of danger.
A Carcass (Ch. Baudelaire)
24" x 30" / 61 cm x 76 cm, 2023
Painting inspired by the poem of french decadent Charles Baudelaire "A Carcass":
My love, do you recall the object which we saw,
That fair, sweet, summer morn!
At a turn in the path a foul carcass
On a gravel strewn bed,
Its legs raised in the air, like a lustful woman,
Burning and dripping with poisons,
Displayed in a shameless, nonchalant way
Its belly, swollen with gases.
The sun shone down upon that putrescence,
As if to roast it to a turn,
And to give back a hundredfold to great Nature
The elements she had combined;
And the sky was watching that superb cadaver
Blossom like a flower.
So frightful was the stench that you believed
You'd faint away upon the grass.
The blow-flies were buzzing round that putrid belly,
From which came forth black battalions
Of maggots, which oozed out like a heavy liquid
All along those living tatters.
All this was descending and rising like a wave,
Or poured out with a crackling sound;
One would have said the body, swollen with a vague breath,
Lived by multiplication.
And this world gave forth singular music,
Like running water or the wind,
Or the grain that winnowers with a rhythmic motion
Shake in their winnowing baskets.
The forms disappeared and were no more than a dream,
A sketch that slowly falls
Upon the forgotten canvas, that the artist
Completes from memory alone.
Crouched behind the boulders, an anxious dog
Watched us with angry eye,
Waiting for the moment to take back from the carcass
The morsel he had left.
— And yet you will be like this corruption,
Like this horrible infection,
Star of my eyes, sunlight of my being,
You, my angel and my passion!
Yes! thus will you be, queen of the Graces,
After the last sacraments,
When you go beneath grass and luxuriant flowers,
To molder among the bones of the dead.
Then, O my beauty! say to the worms who will
Devour you with kisses,
That I have kept the form and the divine essence
Of my decomposed love!
Painting inspired by the poem of french decadent Charles Baudelaire "A Carcass":
My love, do you recall the object which we saw,
That fair, sweet, summer morn!
At a turn in the path a foul carcass
On a gravel strewn bed,
Its legs raised in the air, like a lustful woman,
Burning and dripping with poisons,
Displayed in a shameless, nonchalant way
Its belly, swollen with gases.
The sun shone down upon that putrescence,
As if to roast it to a turn,
And to give back a hundredfold to great Nature
The elements she had combined;
And the sky was watching that superb cadaver
Blossom like a flower.
So frightful was the stench that you believed
You'd faint away upon the grass.
The blow-flies were buzzing round that putrid belly,
From which came forth black battalions
Of maggots, which oozed out like a heavy liquid
All along those living tatters.
All this was descending and rising like a wave,
Or poured out with a crackling sound;
One would have said the body, swollen with a vague breath,
Lived by multiplication.
And this world gave forth singular music,
Like running water or the wind,
Or the grain that winnowers with a rhythmic motion
Shake in their winnowing baskets.
The forms disappeared and were no more than a dream,
A sketch that slowly falls
Upon the forgotten canvas, that the artist
Completes from memory alone.
Crouched behind the boulders, an anxious dog
Watched us with angry eye,
Waiting for the moment to take back from the carcass
The morsel he had left.
— And yet you will be like this corruption,
Like this horrible infection,
Star of my eyes, sunlight of my being,
You, my angel and my passion!
Yes! thus will you be, queen of the Graces,
After the last sacraments,
When you go beneath grass and luxuriant flowers,
To molder among the bones of the dead.
Then, O my beauty! say to the worms who will
Devour you with kisses,
That I have kept the form and the divine essence
Of my decomposed love!
Absinthe Queen I
24" x 30" / 61 cm x 76 cm, 2020
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