For all the time while I was trying to mentally construct the frame of my work, it freely took on a variety of forms. And in the end, only three constant values were always revealed. These themes haven’t left me for a long time now and appear more and more everywhere in each work. These are Mask, Myth and Ritual. Of course, all these three concepts, depending on the context, are constantly circling in a dance, where the consequences and causes of one flow into the second, and vice versa.

It all starts with the death of the Beast, as some kind of fantastic cosmic being. In order to rest, the Beast seeks refuge among cosmic bodies and finds one lifeless planet. Falling on it, the body of the beast begins to decay and the four heads of the Beast falls into different parts of the world: South, North, West, East. At the same time, the dying body of the beast gives birth to two creatures, two brothers the Architect and the Fool. The architect is happy with the new life and wants to give it a continuation, creating new creatures from the flesh of the beast. He creates three assistants :Magician, Scientist and Priest. Together they will build a new world. In turn, the Fool wants to return back to the body of the Beast. He is angry with his brother, there is a quarrel between them..

This is the beginning of the story that I created with my neighbor. Based on it, I created several masks and costumes that reflect the essence of beings from this world. In some of these masks, I've made a performance. These are things that would not be possible if the original story didn’t exist. If the mask is the physical personification of the myth in the object, and the ritual is the actions that refill the myth with air. Can these two kinds of expressions exist without myth? I believe that both the ritual and the mask require a subsequent myth as a base layer.




 The ritual taking place right now forms a kind of autonomous world, just like a dance or a performance. Some laws and rules, such as the emotional tension of the main character performing the ritual or the surrounding spectators, can only be tracked at the moment of its performance. The most elementary example of this, it seems to me, is a live musical concert. Any subsequent re-play of the concert will not match the energy of presence during the action itself. “Ritual practice is a dance: they turn seven times from left to right, stretch out their right arm over the left shoulder, rise, fall, etc.,” writes P. Bourdieu. He believes that scholars never transmit the rituals in their original form. The description of myths and rituals as a logical practice, as some kind of algebra, is problematic. From the moment the ritual is told, it changes meaning and moves from bodily logic to a psychological attitude: rituals become texts, reasons for deciphering. This kind of description contains the danger of losing the object, its living meaningful form.



The Priest Initiation, 2022, perfomance