Exhibitions

TinTins Studio
WestBund, China, 2023

TinTins Studio
ArtTaipei, Taiwan, 2023

Sevil Dolmaci Art Gallery
Contemporary İstanbul Bloom Edition, 2023

Dr.Robot Gallery
"ArtMadrid", 2023

HERE gallery
"The other side of the frying pan", 2022

HERE gallery
“Watching the Earthlings”, 2021

HERE gallery
"Merry Carousel", 2021

Street exhibition, aсtion
“Fire sacrifice”, 2019

Street exhibition, happening
“Aprashka”, 2019

Auction RuArts gallery
"Street wave artists", 2019

Street art museum
"SamFair“HERE” , 2019

Museum of art of St. Petersburg of XX-XI century
“Vasileostrovsky market”, 2019

AHUHU gallery
Group exhibition, 2016

Ziferblat
“Fork and knife”, 2015

Artist statment

RYASKARTSTYLE is an artist whose creative method was shaped by the street. Concrete fences, roofs and factory walls were RYASKARTSTYLE's first canvases on which he printed his protest to aggressive industrialism. RYASKARTSTYLE's paintings are deliberately simplistic - reduced to stenciled primitivism. The street became the basic school where the artist began to create poems of ideal spaces without man, in which there is only room for "absence."

RYASKARTSTYLE's first exhibitions were on fences, the sides of garbage cans, and the hulls of broken-down cars. Then RYASKARTSTYLE bolted his canvases to concrete highway structures, where he burned them with kerosene lamps. After this ritual of purification by fire, RYASKARTSTYLE turned his energy to the space of galleries and museums. Despite this shift of interest from blasphemous industrialism to emaciated exhibition halls, his canvases retained the "absence", acquired during a period of active protest against ruthless machinization. This view of the artist has proved popular with a large number of collectors and art critics living in luxurious penthouse interiors, where for them RYASKARTSTYLE paintings became windows into a world of "absence.

RYASKARTSTYLE celebrates not life, rather its "absence." Bright colors and open geometry of forms are cunning maneuvers of the artist, hiding the deep tragedy of human in civilized society under the celebration of decorativism: we create perfect sets of views, perfect sets of objects, perfect sets of shadows falling from our perfectly set objects... but we are not God - we cannot inhabit that was created by humans.