A series of manifestos presented on paper. Each one speaks directly to artists, putting into words the ideas held within the object itself.

The texts are not written in ink but pressed into the paper with a pen. They can, in theory, be read yet it requires specific lighting, time, and the chance to study the sheet in person.

An essay on the challenges of art in an age of information overload and censorship, and on possible ways to work through them.

Development period: 2019–2026

A 999 fine-silver sculpture is sealed inside a monolithic block of concrete. During display, water drips onto the surface, gradually washing the concrete away.

The work’s first “meeting” with the viewer is delayed for an indeterminate length of time and may never occur. What becomes visible is determined by time and circumstance, not by the will of the artist or the audience.

Dedicated to artists who were ahead of their time.

A series of graphic works produced with only water and paper. The final form is a dried, deformed sheet: its texture is the imprint of an image that has already vanished.

The viewer never gets access to the original compositions — only to their “traces”. The works remain unseen, yet still present, like casts or scars that hold on to what the image once was.

Recursion is a series of sculptures, each consisting of a single tiny fragment hidden inside a pile of sand. The works are lost forever, yet they still exist. They might still “meet” the viewer visually, but there is no way to prove it.

The title suggests an endless loop repeating within itself. A grain lost in a sand is as insignificant to a person as a person is on the scale of a planet, a planet on the scale of a galaxy, and so on.

The created pieces:

• 2024, marble, 1,8 × 1 × 0,75 mm, OGON CCA, Irkutsk, Russia
• 2025, limestone, 2,6 х 1,8 х 1 mm, Zlate Oci gallery, Saint-Petersburg, Russia

A reinforced-concrete object painted in oil. The sculpture is built around Mikhail Larionov’s Rayonism: its form and colours act as markers of temperature, time, and the direction of light.

The title refers to geography and a Christian narrative, yet the artwork is the landscape itself, a landscape that exists only for this sculpture. Object and landscape form a co-dependent, closed system: the viewer remains an external witness, unable to affect its integrity.

Observer is an exhibition space built around a spherical object placed at its center.

Using painting, the sphere reconstructs the reflections of nearby works and the interior, functioning as a stand-in observer.

The sphere captured a state of emptiness and lifelessness, and this state remains intact even when a person enters the room.

A canvas produced between 2019 and 2021 in complete isolation from any outside view. The artist is the only person who knows what is on the front.

The painting is exhibited facing the wall, yet it was conceived to interact with its surroundings. It has a one-way informational direction: it “addresses” the space in front of it without any way to confirm whether a viewer is present. The painting exists for the viewer and the viewer exists for the painting simultaneously as a superposition of two states.

The viewer may imagine what is on the front, but it remains only an assumption.

A painting covered with black fabric. The image interacts with its own veil, reflecting on how the artist positions himself in the world.

The outer form refers to the upper part of a crucifix, yet it can trigger many different associations because what lies beneath remains unknown. This choice underlines the work’s core idea: any outward expression is only what a person is able to bring to the surface. That outer shell may differ from what is inside.

And even with an intense wish to be understood, full understanding may remain out of reach.

Video documentation of a performance in which the artwork is the artist’s sleep.

The artist’s unconscious takes on the role of maker, while the conscious mind becomes the viewer. The recording can capture only indirect traces of what happens in the artist’s head: shifts in posture, facial expression, and breathing rhythm.

Spaces consists of two mirrors leaned face-to-face, endlessly reflecting the darkness enclosed between them.

The mirrors are held in a wooden framework that allows them to stand vertically without touching the wall.

This is Gleb's transitional work that initiates thinking of independence of an artwork. Work's composition is arranged to make feeling of fragmentation of big movement which is outside the canvas and color gradient and symbolism create logic of how to be looked the center and its outside-the-canvas elements.

The important element of the work is color symbolism that is at intersection of psychological and cultural meaning. If light appears in front of the work, the center starts to shine revealing the truth and eclipsing all other parts.
The work still interacts with a viewer and raises the task of to create understandable, obvious movement to block a path and to force a viewer to look into the barrier, to envision farther movement by oneself. But the work starts to reflect those ideas which changed the author's creativity direction fundamentally.

«The Celestial» reflects a stream of any humanity activities from the moment of an idea appeared, its development and studying to dead end and crisis. Also it shows us possible exit being at the opposite, unobvious side, but revealing a path where cognition moved to.

Text: Vasily Kuznetsov

"m²" is a series where the artwork is a precisely defined area of 1 m². Anything that enters this marked area, by chance or intentionally (a body, trash, air, shadow, a car, and other elements), becomes part of the artwork. By cutting off whatever falls outside the boundary, the project produces both simple “dynamic sculptures” and more complex abstract forms.

Each piece in the series is fixed by its exact coordinates:

• 25.79450° N, 80.13370° W, Art Basel Miami Beach, Florida, USA, 12/5/2025
• 55.756037° N, 37.665769° W, CCA Winzavod, Moscow, Russia, 12/9/2025

In “Plein-air”, the artist rethinks classical approaches to outdoor art-making. Here, a signature is not treated as an artwork in itself (as a tag often is), but as an attributive marker applied to objects the artist encounters. It functions as a kind of street-art ready-made: any found element (landscape, building, tree, or urban detail) can become a “signed” work.

Instead of producing an object, Gleb performs an act of selection. By signing what he finds significant, he fixes it in the status of an artwork. The signature becomes an act of designation: from this point on, the scene is his work. Photography serves only as documentation.

With a background in painting, Gleb uses this method to pursue painterly results without making etudes or canvases that feel meaningless to him.

Normally, I don’t create personal works and try to produce art on large-scale themes, separate from subjective interpretations. But recently, I came to the conclusion that my life is too closely connected to my works to separate them from each other. I decided to launch a series of diary works.

The artwork “13.09.2024” was created during the darkest period of my life so far. Towards the end of that period, I found the strength and desire to create some meaningful work in order to release and capture what was hidden, but I was so devastated that all I could produce was this work. Without meaning, without a title, without a purpose, just like my state at that time.

Bottomless, hopeless, tangled emptiness in a vacuum.

This work is about interaction of dynamic and changeless, fleeting and infinite, human world and the world of things. Faceless image of the author reflected on the mirror tells us, on the one hand, about dynamics of human life, a human is not completed at any moment of its existence. On the other hand, it tells us that anyone can be at the place the author is. This is not a personal story, this is fate of whole humanity. The world of things is more durable and stable than human world. A sink, writings on tiles, a mirror. All these elements were before and are going to be after presence of a human in this room. A human appear temporarily as a ghost and try to leave the one's own trace in the world of things, that human wants to say «I exist» or «I existed». There is an element that tells us of it in «Self-portrait». The element is reflection of the man standing very close to the sink, but there is no one against the sink in reality. There is only a canvas with a sketch at the right corner - attempt to leave a trace.
This work appeared in Internet many times, particularly it does in well-known Russian imageboard «Dvach» as an example of hard life in Russia.

Text: Vasily Kuznetsov