I grew up in a family of forestry in the Greater Khingan Mountains, where I often saw all kinds of wood. The chopped wood in the studio always gives me a familiar, intimate taste of “home”. At the same time, I feel very familiar with the unique scars and burls of chopped wood and the peculiar “smell of wood” when cutting timbers, from which my creation started.

This work is made from discarded wood using the methods of cutting, splicing and reconstructing. It is a representation of the author’s social experiences, learning experiences and perceptions of society, as well as an expression of his own “human theater”.

I grew up in a family of forestry in the Greater Khingan Mountains, where I often saw all kinds of wood. The chopped wood in the studio always gives me a familiar, intimate taste of “home”. At the same time, I feel very familiar with the unique scars and burls of chopped wood and the peculiar “smell of wood” when cutting timbers, from which my creation started.

This work is made from discarded wood using the methods of cutting, splicing and reconstructing. It is a representation of the author’s social experiences, learning experiences and perceptions of society, as well as an expression of his own “human theater”.

I grew up in a family of forestry in the Greater Khingan Mountains, where I often saw all kinds of wood. The chopped wood in the studio always gives me a familiar, intimate taste of “home”. At the same time, I feel very familiar with the unique scars and burls of chopped wood and the peculiar “smell of wood” when cutting timbers, from which my creation started.

This work is made from discarded wood using the methods of cutting, splicing and reconstructing. It is a representation of the author’s social experiences, learning experiences and perceptions of society, as well as an expression of his own “human theater”.

I grew up in a family of forestry in the Greater Khingan Mountains, where I often saw all kinds of wood. The chopped wood in the studio always gives me a familiar, intimate taste of “home”. At the same time, I feel very familiar with the unique scars and burls of chopped wood and the peculiar “smell of wood” when cutting timbers, from which my creation started.

This work is made from discarded wood using the methods of cutting, splicing and reconstructing. It is a representation of the author’s social experiences, learning experiences and perceptions of society, as well as an expression of his own “human theater”.

I grew up in a family of forestry in the Greater Khingan Mountains, where I often saw all kinds of wood. The chopped wood in the studio always gives me a familiar, intimate taste of “home”. At the same time, I feel very familiar with the unique scars and burls of chopped wood and the peculiar “smell of wood” when cutting timbers, from which my creation started.

This work is made from discarded wood using the methods of cutting, splicing and reconstructing. It is a representation of the author’s social experiences, learning experiences and perceptions of society, as well as an expression of his own “human theater”.

I grew up in a family of forestry in the Greater Khingan Mountains, where I often saw all kinds of wood. The chopped wood in the studio always gives me a familiar, intimate taste of “home”. At the same time, I feel very familiar with the unique scars and burls of chopped wood and the peculiar “smell of wood” when cutting timbers, from which my creation started.

This work is made from discarded wood using the methods of cutting, splicing and reconstructing. It is a representation of the author’s social experiences, learning experiences and perceptions of society, as well as an expression of his own “human theater”.