Art as a Method of Cognition (2022)
Arctic expeditions, magnetic fields, and the sound of wind over stone. Not illustrations — translations. A room where painting, music, and scent become one instrument for knowing the world.
Art as a different kind of science.
Art as a different kind of science.
The Facets of Myth:
Art as a Method of Cognition (2022)
Planetarium, Saint Petersburg
I spent time in the Arctic — Kola Peninsula, Northern Norway. Not to paint pretty landscapes. To listen.
I recorded magnetic fields, the sound of wind over stone, the way light moves across the tundra. Then I came back to the studio and translated all of it into paint, sound, and even smell. Because for me, art is not about illustrating facts. It's a way of knowing the world.
This project was born from that belief. It's not just a series of paintings. It's a room you walk into. There's a scent in the air. There's music — played on a Hang, an instrument that sounds like water dropping on metal. And on the walls, layers of airbrush, mineral pigments, and textured relief that mimic the actual topography of the places I visited.
I worked with a composer and a perfumer to make it feel real. Not because science needs decoration. But because some things — the pull of the north, the weight of an aurora — can't be explained with numbers alone.
This is not art about science. This is art as science. A different kind of laboratory.
Planetarium, Saint Petersburg
I spent time in the Arctic — Kola Peninsula, Northern Norway. Not to paint pretty landscapes. To listen.
I recorded magnetic fields, the sound of wind over stone, the way light moves across the tundra. Then I came back to the studio and translated all of it into paint, sound, and even smell. Because for me, art is not about illustrating facts. It's a way of knowing the world.
This project was born from that belief. It's not just a series of paintings. It's a room you walk into. There's a scent in the air. There's music — played on a Hang, an instrument that sounds like water dropping on metal. And on the walls, layers of airbrush, mineral pigments, and textured relief that mimic the actual topography of the places I visited.
I worked with a composer and a perfumer to make it feel real. Not because science needs decoration. But because some things — the pull of the north, the weight of an aurora — can't be explained with numbers alone.
This is not art about science. This is art as science. A different kind of laboratory.
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