Started as documentation of life in cramped rooms of Ukrainian student dormitories, the project turned into a research of the interaction of people sharing a common space: an apartment, room, bed.
I asked my friends and lovers for permission to become an inconspicuous observer of their daily lives. Some of them lived at my place; some couples invited me to their home. Thus, for several years, I dived into the atmosphere of someone else’s private space, someone’s story and captured “how do we live together”.
#chekachkov #daily #igor #lives
Each May veterans of World War II come out into the streets of post-soviet cities under victiry banners. In 2015 sixty thousand World War II veterans, who reached the age of 85, are left in Ukraine.
364 days a year those who crossed the fields of World War II more than half a century ago presently live in an abandoned and devastated state, witnessing the memories of their war pass under another color. The color of internal fight and pseudo-political speculation running even higher each year in Ukraine.
This series is a tibute to mortality of human being, fragility of humankind memory, one battleground turing into another. A landscape of weary lives in the glow of sparkling medals and carefully preserved parade uniforms. Symbols of entities fading right before our eyes, still firm with its iron cold grip.
#portrait #ukraine #veterans
Tormented by the tearing melancholy of split up on the one hand, and the searching for how modern algorithms and randomness affects the image, on the other, Deconstruction is an attempt to rethink the entire image of a woman.
Using the three main layers in this work: space, time and memory, I wanted to emphasise the idea of observing and non-interference in the digital manipulation of a photograph which reflects my desire to re-create a woman’s portrait.
The shooting was carried out on the cellphone in the panorama mode without using further manipulations on the computer. This work is the first step in inclusion of the interaction of photography and modern digital algorithms in my artistic practice.
For quite a while I have been photographing how I sleep with my partner, pondering if my camera can catch the chemistry that happens between two people dreaming side by side. Every night I open the shutter when we go to bed and close it when we wake up, wondering what will be displayed on the photo that captured 8 hours of our unconscious existence.
When my hard drive collapsed I lost a decade of photographs. After hard drive recovery I found my photographs corrupted, half greyed out, or glitched; a lot of photos swapped parts thus creating accidental collages. I started to look through these images, trying to reevaluate my past and reconcile myself to the loss. This lead to a series, which mixes Ukrainian politics, my intimate life, and photography assignments, revealing unexpected meanings and connections. The more photographs I found, the more I was fascinated by this idea of error, which reflects Ukrainian reality much more precise, then “clean” image itself.