Created in the spirit of pop art it illustrates one of the myths about the origin of the name of Almaty; etymologically it derives from Kazakh words 'alma' (apple) and 'ata' (father, grandfather). The word 'Alma-Ata' can be translated as 'Grandfather-apple' or 'Father of the Apples'.

This piece of art stands for the power of nature and represents objective reality created with elements of flora and fauna and forming the shape of a howling wolf. From the particular to the general, from single images of animals, tees, stones and water to a bigger picture, to the nature itself, which is howling for hard lot of the Earth.

Our society is turning more and more informative; our reality is increasingly changing into virtual. Information interpretation is becoming almost more important than the information itself. Every second series of billions of ones and zeros are turning dissembled meaningless set of characters into readable symbols, visuals, texts and sounds. In each of ten carved frames, which are mounted on fences and facades of the city, there is a QR code with a famous painting encrypted. Wide carved frame indicates art, though one needs to scan the code to see the picture. The image of the depicted is not identical to the depicted subject itself, but does the modern society see this challenge? Trough multiplying the visual subject the internet desacralizes it and changes it into a character, which in its turn is separated from the subject itself and starts its existence in a vacuum independence, as if it does not belong to anybody specifically and consequently it belongs to everyone.

The stereotype of strong leaders prevails in our society. According to leadership mythology first of all ordinary people do not take any action relying on the high and the mightiest to do so, for example the leaders are to set glass in windows broken long ago. Secondly, many political and media institutions take over the mission of heroes selection and approval, often they are guided by their immediate short-term needs. That is how many names of our important heroes are introduced.
But what if now some other people are real heroes, not those whose names are printed on the monuments and memorial tablets? Possibly someone, who has never hurt anybody and would never boast about it, has more rights to be called a hero than a prominent politician, who sacrificed the lives of millions for some unattainable goal.

The Saddle Installation is in some way a continuation and a part of a big project, which started several years ago. It is associated with Kazakh national game Kokpar. The nomads always believe that a horse is a great friend and a part of a human being. A Kazakh man would find it difficult to go without a horse along his way of life. Nowadays many people compare cars to racing horses. The Saddle installation appeals to this metaphor through comparing the past and the present and retransmitting this tradition into contemporary realities.

People are walking on the streets, going about their business; the city is full of shadows of people, trees, cars, and buildings. Here are the shadows of our ancestors and nobody knows if they are our outlines in sunbeams, or we are theirs. Through depicting the shadows of long-gone people on the pavement the artists remind us of where we come from and help us understand where we go. It is literary shown in the project, people make their way on the pavement and their shadows are intertwisting with the shadows of the ancestors.

The artist in his work transmits the image of contemporary relationships between the man and the woman, the black and the white, the strong and the weak. He mentions the problem of mutual distrust and fading sense of duty. In days gone by men gave flowers with feeling (dignity) and more pleasure. In modern times people do it for immediate desire and in a mechanical way.

Almaty Golden Square used to be the cultural center of the whole region, but currently only street art can restore its 'golden' status. The artist chooses simple objects of urban environment and dresses them up with artistic transformation. For example ordinary metallic banisters are covered with leaf-gold and incrusted with Swarovski crystals.
Whatever King Midas touched turned into gold. So the artist can 'engolden' the city, which suffers from those who DO NOT APPRECIATE it. The society appreciates the 'filthy lucre' only. Wealth and success are in trend. What can we do?

It is an environment sculpture in constant location, stipulating direct contact with the audience and possibility to enter the piece of art and get a feeling of its interior space. Its structure, color and name refer to sun-scorched grass as the most important component of steppe landscape. This installation can be considered an attempt to give some spontaneous structure to urban environmental order.

It is an environment sculpture in constant location, stipulating direct contact with the audience and possibility to enter the piece of art and get a feeling of its interior space. Its structure, color and name refer to sun-scorched grass as the most important component of steppe landscape. This installation can be considered an attempt to give some spontaneous structure to urban environmental order.

In exploring the urban landscape the artist gets interested in various intrusive objects intruding into the landscape fabrics and violating the existing spatial and visual connections. To emphasize this characteristic feature the artists creates a mosaic 'shadow' from these objects on the pavement in the style of traditional ornamental carpets. At some time of the day the shadow from the attractive elements will completely coincide with the contour of the 'carpet'.

Through moving from the pocket of the viewer on a white sheet of paper an ordinary object turns out to be in cosmos, beyond time and space. It becomes incredibly significant; it has a chance to present its owner, its time, its surroundings in a conditional eternity. At the same time it is unhappy and lost in this new situation. The figures located in the corners are cosmic poetry, which is not subject to our mind.

The work is open for interpretation. Someone might believe in the mystical sense of what is happening and will keep the card with its object. Someone might find it an entertainment and will not give it much importance, someone else might think that this is cheating. The public reaction to this action is as important as the action itself, and that is what changes the essence of the work.

Red carpet as a symbol of officialdom is laid without barriers through the streets, fences, lawns, and buildings, so it paves the way across the city. In any place difficult for passage there are props and ladders to support the goers. To keep one's way on the red carpet the audience has to hold tight! Spectators are free to bring their tools and equip new ways to overcome obstacles that might happen to be on the way-track. As a result there should be accumulated many piles of lapidary rough tools, contrasting with the pathetic red carpet.

In this post-minimalist object the audience immediately becomes a party in a space game created by the artist. The wavy lines cut through the quiet space of the city and visually intrude into the natural landscape. Once inside, for a moment the viewer is able to 'turn oneself off' from the city noise. The constituent elements are maximum free of all images and cleared from any associations.

The feeling of great territory and the desire to move (and explore the space) is the foundation element of nomadic people behavioral stereotypes; it is embodied in the collision of attributes of two time categories – the past and the present. In addition the Installation can be interpreted as a performance of national culture desacralization.

Its withdrawal from archaic collapse and inclusion into the context of the global art. The presented object is a kind of alternative to yurts, which are widely used in Kazakhstani street festivals as attributes of festival entertainment.

In daily race in the circle of life we have to take in information at the lightning speed. Increasing the speed of the world perception we head into the semiotic system. However the characters of our time are different from the old heraldic images. Our characters are branded letters on the signs of McDonald's, Dolce and Gabbana, Nikon's comma, boy and girl figures on toilet doors. Finally we do not realize that we are drawing characters in our heads when we simply communicate, walk around the city or go to a bar party. The artist tells a story of our 'personal' symbols', simple graphic images built-in in our daily lives.

In daily race in the circle of life we have to take in information at the lightning speed. Increasing the speed of the world perception we head into the semiotic system. However the characters of our time are different from the old heraldic images. Our characters are branded letters on the signs of McDonald's, Dolce and Gabbana, Nikon's comma, boy and girl figures on toilet doors. Finally we do not realize that we are drawing characters in our heads when we simply communicate, walk around the city or go to a bar party. The artist tells a story of our 'personal' symbols', simple graphic images built-in in our daily lives.

Installation includes many symbolic elements – gas, oil, newspapers, etc. These particular objects are natural resources and cultural values of Kazakhstan being very important for national identity, politics, and economics.

The project is dedicated to the end of endless international conflicts and wars over resources. Trying the pole and the elements of urban energy supply and providing them with 'noise amplifier' without apparent practical function, the author symbolically highlights the challenge. Forcing the most ordinary actions to 'sound', repeatedly reinforcing the daily produced sounds the artist draws attention to the phenomena, which are integrated into our lives and are taken for granted without slightest value.

The project is dedicated to the end of endless international conflicts and wars over resources. Trying the pole and the elements of urban energy supply and providing them with 'noise amplifier' without apparent practical function, the author symbolically highlights the challenge. Forcing the most ordinary actions to 'sound', repeatedly reinforcing the daily produced sounds the artist draws attention to the phenomena, which are integrated into our lives and are taken for granted without slightest value.

The artist hitchhiked from Sweden to Kazakhstan. During the trip, his research object was to study the phenomenon of freedom and life values, where freedom is paradoxically interpreted by the author as something limited by its very definition. In order to demonstrate the greatness of the man and his ability to impart the meaning of objects and actions the artist transforms the stone remaining after 1978 Almaty mudflow into an object hovering above the ground. The stone is released from the environment, in which it was placed by nature, and filled with ease. It is changing its context through the efforts of the artist. The author integrates stone with a propeller to emphasize that the journey of the stone has just begun, it leaps into the air, and it can fly. Doing something as heavy as putting a stone into the air the artist recalls the infinite power and possibilities of man.

The main effect of the work is built in the idea of continuous motion, according to the author it creates a sense of eternity and appeals to both the physical and the spiritual principles. The symbolism of oil, 'black gold' as the source of energy, and basis of raw-material economy and modulator of political relations is also incredibly important for this work.