The "Polar Explorers" series is chronologically the largest project. Since 2012, it has become a part of various artworks and has taken the form of performance, installation, object, painting, and mural. It has been the core element that has traversed artistic practice, encompassing different themes, forms, and ideas that I have explored over the past 7 years. Over time, this cross-discursivity has become the main characteristic of the series. It effectively represents the concept of artwork as a repository of imagery. In this sense, a single artwork can contain multiple layers of meaning, and a visual technique employed in different contexts reveals different topics.

In 2012, as part of the exhibition "Rejected Reality," a performance titled "Notes of a Polar Explorer" was presented. In Moscow, within the exhibition space, a printer with remote access was installed. Over the course of a month, it printed graphic sheets sent via the internet from Krasnoyarsk (Siberia), creating them in real-time. It was the first work involving the "Polar Explorers" series that touched upon two important vectors of meaning. First, it explored the theme of territorial identity. The white monochromatic landscapes were not depictions of actual landscapes but an attempt to create a mental map of a Siberian resident. The disproportionately small images created a spatial effect characteristic of perceiving this territory. Second, it thematized artistic time, focusing on the process of art production and consumption. The printer, positioned at a height, continuously released one sheet of graphics, slowly descending and forming a gradually growing mound of "artistic snow." The performance can be summarized by its central intention: to overcome the Siberian distance through art.

From 2013 to 2015, the process became the central theme of the series. During this time, the graphics were created on an almost ritual level. They were not exhibited anywhere and were not positioned as independent works of art. This constant and purposeless production created an image of artistic product as fuel, which served as an idea for a new project.

In 2015, the series became a part of the project "Mental firewood" The images were applied to the charred ends of birch logs. Recognizable motifs that formed the metaphysical image of Siberia were combined with another symbolic element of this territory - wood.

From 2016, the series finally emerged as independent works of art and transitioned to a traditional medium - canvas. The paintings created from 2016 to 2019 revealed yet another perspective of meaning within the "Polar Explorers" series: ecology. The collision of different scales of imagery highlights the dynamic tension between humans and the surrounding environment.

In its latest incarnation, "Polar Explorers" becomes a mural. The picture frame is removed to enhance the hyper-objectness of the surrounding environment. Concise graphic compositions are applied directly to the wall, further dissolving the minimally voluminous images into the snowy whiteness of the background.