The plot of the picture covers not only the "Era of hedonism" in my life, but also the concept of being in general with no specific time frame: this is a comprehensive manuscript with unshakable pillars, complemented by my personal experience. Here I play the role of an alchemist trying to catch eternity by the tail, dissect being, decompose it into parts, foundations, personalize it, capture it on paper and show it to the world. In the visual plan, the artwork really resembles a medieval document: Gothic fonts, corresponding flora and bestiary, deliberate decorativeness, black and white explanatory engravings.

Being has a dual nature. The composition of the picture is made up of numbers 6 and 9: six — my number, the feminine, 9 — the masculine, the number of my ex-lover. In general, it turns out 69 — an unambiguous "yin-yang", hinting at intercourse. The constant interchangeability of the two basic elements symbolizes infinity.

The fourfoldness of all things is quite obvious: seasons, primary colors, elements, time of day, types of temperament. I try to give specificity to an impersonal being, shifting it to my own sensory experience, so each of the four main parts of the picture reflects one stage or another of relations with my ex-lover, which is characteristic of any couple and cyclical.

The "Tree of Life" in the middle of the picture captures the allegorical seven-step process of the artist's transformation from a gray house mouse to a bloodthirsty marten, who killed the mouse, and to a pink bat-knight, whose weapon is a brush, palette and a naked heart. Small Sefirot explain all the metamorphoses: the left side reflects the path of the heart, while the right side reflects the path of light from the sun to the star. These two simple symbols — the heart and the star — are a kind of foundation of art for me: the ability to feel inwardly and the striving for the high.

The main sins are scattered across the entire plane of the drawing, which also form the basis of being, as they are characteristic of any living soul. Each of the seven characters is signed in Latin and depicted as a creature, as if descended from the pages of medieval bestiary. Anger / Ira, for example, appears here in the image of a fighting cock that entered into battle with the fierce Basilisk. At the base of the Tree are two creatures with clearly feminine traits — Pride / Superbia and Envy / Invidia. The greedy demon of Greed / Avaritia collects the stars in his bag.

Autumn. Yellow. Water. Evening. Phlegmatic. John. Maturity. West. Suffering: active/negative

Oh, in autumn I feel good! Consciousness of myself as a fairy, came to me in late autumn, when I was on a powerful rise: "You wake up once and understand that you are the Fairy Dragee from The Nutcracker." Our love brought only sufferings to both of us until I declared in a fury that "I'm not a sweetener," put him in a cage and hung it on a rowan branch. The fairy is vengeful: I tormented him with hunger, teased with a key. Suffering brings a certain liveliness to the relationship: we enjoy tormenting ourselves and tormenting each other. On a branch under a bunch of grapes lurked the demon Gluttony / Gula, copied from my voracious sphinx cat.

Winter. White. Land. Night. Melancholic. Luke. Oldness. North. Love: passive/positive

This sphere is divided into two scenes filled with peace and tranquility. There is nothing more intimate than protecting the lover's fragile dream. The slogan of the sphere, devoid of even a hint of sexuality, says: "I love Tanya, not as a woman, but as a creature." Our dream is not eternal, we wake up, the veil of magic will subside. Even the best winter holidays will end.

Two small spheres (Summer / Winter) are polar opposites of each other, but there is a clear connection between them: thus, the two principles, male and female, converge at the point "Coitvs" in the middle of the picture.

The picture is encrypted with a small rebus — "The Evidences of Great Love": it is proposed to find objects from real life, embedded in the drawing, and proving that everything described above actually happened.

The work "The Threefold Essence of Being" is an attempt to give my own interpretation of the symbolism of the number three, which I impose on my sensual and sexual experience, obtained during the three autumn months. In each part of the triptych there are two main characters: me and my partner. In the subtle nuances of the picture, I reveal my relationship with each of them. This is a semblance of an erotic diary in which I would like to preserve the anonymity of the participants — both real and imaginary.

The number three contains the beginning, the middle and the end, and reveals the triple nature of many phenomena. The symbolism of man is the triad known to all: the body (corpus), soul (anima) and spirit (spiritus), they correspond to the alchemical elements: sulfur, mercury and salt. Or the triplicity of natural phenomena — the phases of the moon or the three-phase nature of substances.

The main symbol of the three, of course, is the triangle. The structure of the triptych was not chosen by chance, because three fastened circles are the Equivalent of a triangle. The trefoil form itself is traditional for church stained glass windows symbolizing the Trinity. When three parts are fastened together, a "time triangle" is formed in the inner part of the work. It is indicated by the "play" and "rewind" icons: present, past / future, respectively. In each pictogram, two letters can be seen, which, when read in sequence, form MV ND VS ("world"): this is how the world was divided into three parts in the representation of the ancients — Africa, Europe and Asia.

Three is one of the central numbers of folklore, because in fairy tales the motive for the threefold repetition of events or heroes is obvious. A fairytale pattern surrounding each part of the triptych is a decorative element that indicates the magical nature of events. It also symbolizes three primary colors — blue, red, yellow, which, when mixed or when the parts of the triptych are superimposed on each other, give other colors — green, purple, orange.

The three can be divided into duality and unity. In the work in the first two cases (lower circles), duality is observed — two heroes are absolutely isolated from each other. Unity is formed in the third case, when two heroes merge together. Compositionally, this part of the triptych resembles William Bouguereau’s painting "Cupid and Psyche" (Eros and Psyche). A full heart symbolizes Spirit and Love, which always triumphs in the end.