Bronze - 6" x 8.5" x 2" Description: Cain killing Abel is a murderer. Cain killing Cain seeks vengeance and is also a murderer.

Bronze - 23.5" x 19" x 10" Description: Cain killing Abel is a murderer. Cain killing Cain seeks vengeance and is also a murderer.

Bronze - 5W 6.5H 2D Description: Cain killing Abel is a murderer. Cain killing Cain seeks vengeance and is also a murderer.

Bronze - 25H" x 12.5W" x 22D" Description: Cain killing Abel is a murderer. Cain killing Cain seeks vengeance and is also a murderer.

Plaster - 31w 60h 25d Description:The proposed work is based on the Greek mythological figure Narcissus A mountain nymph Echo fell in love with Narcissus, a handsome young man, but he rejected her love. The goddess of vengeance Nemesis, answering the prayer of the rejected one, doomed the young man to fall in love with his own reflection Narcissus, madly in love with him and died of despair and melancholy. This plot is only an excuse to express the duality of the human personality, a constant painful dialogue with his second "I", the contradiction between self-love and self-hatred, the eternal question: Who am I? Why am I?

Plaster 11w 27h 15d Description: Abel was the first victim. The primary metaphor of my sculpture is that of “Abel as a man without a face”. He looks architectural, and resembles the stone tablets of the Old Testament. But, they are still blank.

Plaster 11w 24h 11d Description: Abel was the first victim. The primary metaphor of my sculpture is that of “Abel as a man without a face”. He looks architectural, and resembles the stone tablets of the Old Testament. But, they are still blank.

Bronze - 14.5 in x 18.5in" Description: I have long been familiar with the biography, thoughts and good deeds of this great person. Naturally, I wanted to create his portrait. There exist many photographs and paintings of Rabbi Menachem Mendel Shneerson. I, on the other hand, decided to make a portrait in relief. A portrait in relief demands the right lighting, otherwise it is impossible to fully perceive the image. This is a purely technical condition for the appreciation of the form, and at the same time a very important metaphor. The great Rabbi by nature was a very humble man, but illuminated by the knowledge of the Torah, wisdom, good deeds (impossible to list everything), becomes a significant, visibly important figure for the Jewish people -- and more. Just as the light from a lamp helps us see the beauty and form of the relief, the light of the Lubavitch Rebbe’s soul and his closeness to the Creator help us make out the scale and significance of a great man.

Clay - 14.5 in x 18.5in" Description: I have long been familiar with the biography, thoughts and good deeds of this great person. Naturally, I wanted to create his portrait. There exist many photographs and paintings of Rabbi Menachem Mendel Shneerson. I, on the other hand, decided to make a portrait in relief. A portrait in relief demands the right lighting, otherwise it is impossible to fully perceive the image. This is a purely technical condition for the appreciation of the form, and at the same time a very important metaphor. The great Rabbi by nature was a very humble man, but illuminated by the knowledge of the Torah, wisdom, good deeds (impossible to list everything), becomes a significant, visibly important figure for the Jewish people -- and more. Just as the light from a lamp helps us see the beauty and form of the relief, the light of the Lubavitch Rebbe’s soul and his closeness to the Creator help us make out the scale and significance of a great man.

Bronze - 7.5" x 6" x 2" Description: An arch formed by clasped hands ; this is one in a series of my sculptural arches. This one was intended to be a part of a tragic monument. Through this arch of hands , as I planned, the visitors can pass to the location of the tragic event. Aside from architectural arches, which are a functional, structural component of a building, we have numerous example of free - standing arches ( the triumphal arches of Rome, for example), whose function is symbolic. Passing under an arch such as this, a person would experience a sense of spiritual transformation, depending on the idea behind the particular piece of architecture. The idea behind my arch is simple and easy to understand. Hands clasped in prayer, in a sense of grief are recognizable to a person of any religion, or of no religion at all. As we approach the arch we see highly expressive, tensely clasped hands . They act as a sort of a tuning fork of our spiritual state, helping us understand and feel that behind the arch is a different space: a space where time stopped at the moment of tragedy.

Plaster(White) 29.5H 22.5W 19D Description: An arch formed by clasped hands ; this is one in a series of my sculptural arches. This one was intended to be a part of a tragic monument. Through this arch of hands , as I planned, the visitors can pass to the location of the tragic event. Aside from architectural arches, which are a functional, structural component of a building, we have numerous example of free - standing arches ( the triumphal arches of Rome, for example), whose function is symbolic. Passing under an arch such as this, a person would experience a sense of spiritual transformation, depending on the idea behind the particular piece of architecture. The idea behind my arch is simple and easy to understand. Hands clasped in prayer, in a sense of grief are recognizable to a person of any religion, or of no religion at all. As we approach the arch we see highly expressive, tensely clasped hands . They act as a sort of a tuning fork of our spiritual state, helping us understand and feel that behind the arch is a different space: a space where time stopped at the moment of tragedy.

Bronze - 5.5" x 5" x 5"

Bronze - 5.5" x 4.5" x 4" Description: A terrible, insurmountable, destructive force influences a person, leading to a fall. The force of external circumstances, of internal conflicts. The person struggles desperately. The falling one will either become "the one who fell",or "the one who rose back up."

Bronze - 11" x 5" x 7"

Bronze - 11" x 7.5" x 9"

Bronze - 6" x 2" x 2"

Bronze - 3" x 6.5" x 2.5" Description: The compressed orgasm of convulsions to the limit. The body disintegrated. In each one sleeps a satyr or a bacchante?

Bronze - 10" x 4" x 3" Description: Society creates the stereotypes of success. A person, often without thinking, will try to live up to these stereotypes. He will climb the mountain of success, breaking and destroying himself. “Vanity of vanities...”

Bronze - 26H 33W 52L Description: Imagine that, for some reason, the Almighty sent an angel to a modern megapolis of millions. I have two questions: What can an angel feel in such a circumstance? Did you know that angels live forever?

Bronze - 9H" x 13.5W" x 12.5D" Description: The appearance of Moses has been lost to history. But his actions, his connection with God and with his people - these are the things that are truly important. The sculpture of Moses consists of three almost identical masks: Moses enraged, Moses speaking and Moses deep in thought. In the center is a pyramid. Moses is freedom. Moses is dedicated to God. Compared to the magnitude of these concepts even the great pyramids of Egypt appear minuscule.

Plaster – 17.5H 8W 4.5D and 16.5H 7.5W 4D Description: attempt to use this story as a means of expression about Man and Woman. As long as civilization has existed, art has existed as well. And for as long as art exists, artists have and will continue to use it to discuss the masculine and the feminine. The theme is constant, never ending, and every time period has it's own way of addressing it. I would like to do the same and add my own expression of it, my own metaphor. The two sculptures, Adam and Eve, are stylized and abstract. They have no explicitly anthropomorphic qualities to them, and yet it is obvious which one is which. Separate and distinct, but two parts of one whole, nevertheless. Without one another, they are devoid of meaning, of purpose, each being no more than an empty vessel. In simplest terms, the two sculptures are two arches. In the inner silhouette of the Adam arch we can see the form of Eve. And in the inner silhouette of the Eve arch we can likewise see the form of Adam. The immaterial space inside the material arch is the immaterial soul inside the sculptural body. And so, Adam’s soul is inside Eve and Eve's soul is inside Adam. The observer can view these sculptures from the outside at any desired angle. Depending on the scale, he can also pass through the arch, briefly becoming a part of the artwork. Through his presence and their mutual interaction, the exhibit becomes something I call “The Lovers’ Arch”. The act of passing through places the observer in a different spiritual space, a space created of the ideas that make up this artwork, of my expression of the masculine and the feminine as parts of a whole. A space where, contrary to all laws of mathematics, 1+1=1.

17" x 7.5" x 4.5" Description: My sculpture “Adam and Eve” isn't an illustration of the well - known biblical story. Rather, it's an attempt to use this story as a means of expression about Man and Woman. As long as civilization has existed, art has existed as well. And for as long as art exists, artists have and will continue to use it to discuss the masculine and the feminine. The theme is constant, never ending, and every time period has it's own way of addressing it. I would like to do the same and add my own expression of it, my own metaphor. The two sculptures, Adam and Eve, are stylized and abstract. They have no explicitly anthropomorphic qualities to them, and yet it is obvious which one is which. Separate and distinct, but two parts of one whole, nevertheless. Without one another, they are devoid of meaning, of purpose, each being no more than an empty vessel. In simplest terms, the two sculptures are two arches. In the inner silhouette of the Adam arch we can see the form of Eve. And in the inner silhouette of the Eve arch we can likewise see the form of Adam. The immaterial space inside the material arch is the immaterial soul inside the sculptural body. And so, Adam’s soul is inside Eve and Eve's soul is inside Adam. The observer can view these sculptures from the outside at any desired angle. Depending on the scale, he can also pass through the arch, briefly becoming a part of the artwork. Through his presence and their mutual interaction, the exhibit becomes something I call “The Lovers’ Arch”. The act of passing through places the observer in a different spiritual space, a space created of the ideas that make up this artwork, of my expression of the masculine and the feminine as parts of a whole. A space where, contrary to all laws of mathematics, 1+1=1.

Bronze - 6.5" x 8" x 5" Description: So often a person becomes a slave – a slave to weakness, fear, circumstance… Observing this sculpture for an extended period of time causes a feeling of discomfort. But why? This position can only be maintained for a few seconds. After that, one must either fall, accept their fate and submit, or (the most difficult choice) resist and stand up straight. The choice us up to the individual.

Plaster - 29" x 20" x 22 Description: This sculpture captures a poignant moment of adolescence — the tension between the longing for power, confidence, and significance, and the underlying vulnerability and search for identity. The young man is depicted wearing a headdress reminiscent of an Egyptian pharaoh’s crown — a symbol of greatness, authority, and control. Yet this “royal” headpiece is, in fact, a mask — a symbolic disguise worn by the teenager to hide his inner uncertainty.He adorns himself with signs of strength not because he feels strong, but because he hopes they will protect him from judgment and insecurity.The sculpture is a tender, ironic portrait of growing up — of the fragile journey toward selfhood, where the external often conceals the internal, and symbols of power are used to mask a deeply human desire to be accepted and seen."

Bronze - 15" x 7.5" x 5" Description: The allegorical sculpture “Winner” - consists of 4 main elements, which together express the universal idea of the winner. Each of these elements resembles the letter "V" - the capital letter of the Latin word victory - victory. 1st element - raised hands symbolize health, physical and mental, the potential that is given to a person and which he develops in himself. The 2nd element is wings, this is love in the broadest sense of the word: love for loved ones, for a woman, for a man, in the business you are involved in, love as an attitude and a state. It inspires you, lifts you off the ground. And finally, the spread fingers of the right and left hands. 3) The left hand is a hand from the heart - this is your favorite thing, this is what you like, what is close to your heart. 4) The right hand is material success. Career and money seem to be at the very top. But what brings them to the top is raised hands. Those. if you have health, etc., career and money will be at the top. Of course, each element and their interaction deserves a more detailed analysis. But I wouldn’t want to launch a whole confessional essay. I think a short description is enough. And everyone is free to give their own interpretations.

24" x 11" x 11" Wood Description: A person cannot live without music. Everyone's tastes vary, but everyone loves music. The sound of a flute has a profound effect on the human soul. The flute has its own amazing history. It has come a long way from the flute of the mythical Pan, personifying the forces of nature, to a concert instrument on which complex and deep music is performed. The flute has a huge variety of appearances and sounds among different peoples of the world, probably, it is the very soul of the people that sounds through the flute and tells us about the legends and traditions of their land. The flute is one of the most ancient musical instruments in human history. Its sound has always enchanted people with its extraordinary melody, and this melody allows you to heal the soul, forget about vanity and immerse yourself in an extraordinary world where your soul merges with nature, with Heaven, with the music of the Universe.

8" x 6" x 5" Resin

8.5" x 6" x 6"

3" x 5" x 2" Description: A terrible, insurmountable, destructive force influences a person, leading to a fall. The force of external circumstances, of internal conflicts. The person struggles desperately. The falling one will either become "the one who fell, or "the one who rose back up."

5.5" x 2.5" x 2"

5" x 4.5" x 1.5"

Bronze 6.5" x 6" x 6" Description: Horror, the unbearable pain of losing a loved one, or the tragedy of an entire people (such as genocide)...how does one express that? Not a face expressing tragedy or terror, but tragedy and terror without the face, in their pure form. To do this, I resort to a surrealist metaphor: a moaning mask wearing a screaming mask. Glancing from one to the other creates the impression of animate figures, as the frames of a movie would. The most expressive part of the face - the eyes - are missing. Why? Imagine a person driven mad by suffering, screaming and moaning; he may have eyes wide open but not be able to see anything. Or, more likely, he will shut his eyes tightly. At that moment a person is unable to perceive anything from the outside, only perceiving that which is inside and would tear apart his chest and head, if it is not released through the screams and the moans. The mask is absolute zero - a line past which no life or emotion can exist. Looking at it, one can understand how small and insignificant our daily struggles and worries can be at times.

31" x 33" x 5.5" Description: The relationship between the state and the people under a dictatorship is that of a hammer and nails. Under a democracy, it is that of a screwdriver and screws. The people (whether "nails" or "screws") are obligated to obey explicit and implicit laws and directives of the state. The laws are, of course different. The method of influence on nails versus the method of influence on screws are also undoubtedly different.

32" x 34.5" x 3.5" Description: The relationship between the state and the people under a dictatorship is that of a hammer and nails. Under a democracy, it is that of a screwdriver and screws. The people (whether "nails" or "screws") are obligated to obey explicit and implicit laws and directives of the state. The laws are, of course, different. The method of influence on nails versus the method of influence on screws are also undoubtedly different.

3W 5.8H 3.2D

Wood 31w 3h 3.5d Description: In this artwork (I won't bother trying to classify it as exclusively a sculpture or a painting), which is called "Leader", I speak of the phenomenon in which a certain person is propelled to the top under dictatorial conditions. Such persons always bring with them war, bloodshed, loss, repressions while at the same time becoming objects of reverence and respect. In this work use completely neutral objects-pencils. At front and center we have the red pencil, i.e. the leader. Behind him is a mass of identical, dull green pencils. All others, who are different from the mass, those who show brightness and variety of colors are broken and discarded, so as not to get in the way of "progress" toward the utopian future. Under such leaders, people do not live in the present; they live exclusively for the future. The present is only there to be sacrificed in the name of a future that will never be attained.

Small Plastic 5w 3h 1.5d Description: The awakening is the beginning of movement. A moment. The union of the physical and the spiritual. The language of words, the language of forms.

Large Plaster 31W 22.5H 14.5D Description: The awakening is the beginning of movement. A moment. The union of the physical and the spiritual. The language of words, the language of forms.

Small Plaster 4.5H 3W 2.5D Description: The sculpture depicts the human soul in its striving for the eternal, beyond time, towards the spiritual. This is a moment of awareness, when the day not only begins, but is also filled with meaning.

Large Plaster 30H 17W 14D Description: The sculpture depicts the human soul in its striving for the eternal, beyond time, towards the spiritual. This is a moment of awareness, when the day not only begins, but is also filled with meaning.

Bronze – 3W 9.6H 3D Description: To fall from the sky means to free oneself from illusions, to begin to soberly assess reality. А situation when a person who has been living in a world of fantasy or delusions suddenly encounters harsh reality.

Wood – 31H 11W 12D

Wood – 31H 11W 10D

Bronze – 17H 6.5W 6D

Bronze – Size: 7.5H 4.5W 3.5D Description: This figure seems to hover - not in the sky, but within a space of inner stillness. An angel with closed eyes, arms folded across his chest, stands barefoot above the ground—neither ascending nor touching it. His wings hang heavily, as if bearing not only himself, but the full weight of what has been seen. The face is neither stern nor serene, but filled with quiet concentration. This is not a judge, nor a comforter. This is a witness. He watches. And perhaps, he comes to acceptance - not of what he has seen, not of what is happening, but of the inevitability of knowing it. This sculpture speaks of inner maturity: of the moment when wings cease to be a symbol of elevation and become a sign of the weight that vision brings.