Impressions is a long-term painting project in which nature appears not so much as a specific place, but as a state experienced at a particular moment in time. I am interested in the landscape during periods of transition — changes of season, light, temperature, and colour; moments when nature awakens or begins to fade.

The works remain rooted in real Ukrainian landscapes — meadows, river valleys, hills, ravines, trees, and fields. Yet the specific location gradually recedes into the background. What becomes more important is the fleeting combination of light, colour, and atmosphere that makes each state of nature unique.

This is why the series contains so many transitional moments: the spring flooding of the Dniester, the earth after the snow has melted, the first frosts, the autumn fading of grasses, the last rays of sunlight, morning frost. These are states of “in-between” — when one season is already receding and another is only beginning to reveal itself.

Light becomes one of the central protagonists of Impressions. It does not merely illuminate the landscape; it transforms its inner state. A final ray of sunlight may briefly return warmth to an autumn hillside; dawn may transform the cold earth into a space of anticipation; the spring sun may bring life to a landscape that still appears almost wintry.

In the earlier works of the cycle, nature retains a greater degree of recognisable form. We can identify a meadow, water, a tree, or a hill. Over time, the painting becomes more impastoed and textural. The brushstroke acquires an independent plastic force, while natural form increasingly emerges from the very matter of paint.

In later works, a tree may resemble a fragile dried flower, a ravine may transform into a mass of colour and texture, while light may exist as an independent painterly accent. The real landscape gradually approaches the threshold of abstraction, yet never fully crosses it.

It is precisely this threshold that matters to me. I do not seek to abandon nature in favour of abstract form. On the contrary, I attempt to discover the inner structure of the landscape, retaining only what defines its state: light, rhythm, colour, movement, and the sensation of time.

In Impressions, nature also appears as a space of continuous renewal. What seems to be an ending already contains the beginning of the next state. Autumn passes into winter, winter into spring; the cold earth preserves the possibility of new growth, while fading light precedes the next dawn.

Seasonality therefore becomes more than a subject of landscape painting — it becomes a metaphor for time and the cyclical nature of existence.