About

My practice moves between bronze sculpture, fine art resin, digital media, and Dragonfly, an integral imaging technique built with a physical lens array. The works take different forms, but they come from the same impulse: the need to keep dreaming before the world gives permission for it.

I am interested in dreams not as escape, but as a kind of force. There is something almost unreasonable in the way children imagine things. They do not first ask if something is possible, useful, or realistic. A car can fly if you attach balloons to it. A boy can reach the Moon if he has a helmet and a jetpack. A knight can face the unknown while still wearing soft shoes. This logic is simple, but it has a strange confidence. It carries belief before proof.

Humour keeps the work human. My sculptures often show figures or objects that are almost ready for something impossible. Their equipment is serious, but something stays soft, ordinary, or slightly wrong. Hands remain in pockets. Bodies are rounded. Shoes are too comfortable for the task. The works do not laugh at ambition. They protect it from becoming too heroic.

Bronze is the anchor of my practice. The material side of the work is also personal because of my collaboration with my father in Ukraine. We work together on bronze and fine art resin works, developing patinas, colours, surfaces, and methods. The anthracite patina used for Drim and Nite came from this shared material research. Bronze carries family, distance, trust, and a connection to Ukraine.

For me, this still comes back to the same core idea: taking imagination seriously. The work begins before certainty, where something is still unlikely, but already worth following.