During  the  recent  years I make  repeated attempts  of  painting  on  the  subject of human  suffering. Ten thousand  people from my town in  Russia   including   my  grandmother's  family   were  shot during the first days of World War II.
     My work  is about the  struggle of  time  and   memory.  Art  bears a responsibility  to create  memory. I am convinced, however, that it also bears responsibility to create memory.
     Time  and  space. These  words are very important  for me. In many ways, my work is an  attempt  to resist time.  All   we   have  in  our  struggle  against  time is  memory. In  he  presence of  memory,  time learns the limits of its power. Memory reduces time to the stature of  reality   that  we  have  to deal  with.
     For  me  space  has  volume. Voids  have  volume, like  objects. They  have  form and  are as concrete as objects. Space  is   alive.  Space  is  dynamic, space is imbued  with  movement  expressed  by  forces, space  vibrates and resounds with color, light and form.
     I am  interested  in   how  the  same  object, changing  in  shape,  size  and texture, remains unchanged in  its   essence.   Its  effect  on   people  and people's reaction to the object remain unchanged.  Hence my limitation in terms of object (box).
     I  want  my  painting  to  be  almost   indecipherable, as  if  the  viewer  were  inside  the  painting, in a state  of  confusion. I  cover  the  entire  surface    with   layers  of    black    and   white   paint - sanding down  the   surface  and  repeatedly  adding  more  layers - until    the surface, the image, and the paint are one.  I   finally   reject   my  old  palette in favour of different hues of black and white. It seems to me, the physical  energy  of  the  line  and  the  impulse  of the  brushstrokes  and  finger  marks, which erupt in a torrent of marks  and   gestures born on a foam of white paint, give  the  entire  work  its dynamic force. I use the paper because the paper possesses qualities which are useful when evoking a sense of memory.
     I try to  show  a different  conception of the artist's function and the relationship between the artist and his work. Very  important  for me a real  value self-participation in the making of the work of art. I "make" this work. I find thereby identify the picture as closely as possible with my physical act of painting.
     I  want  to  show  various  conditions  of  the  material. This  depends on  the  space, on  the  mathods of application  to  the  canvas, on  the size  of the  surface that it occupies. And at the same time, to show the invariability of the result, its effect on people.
Jeremiah's Lament series