Artsy: https://www.artsy.net/artist/baroque-anarchist

Website: https://baroqueanarchist.myportfolio.com/

Insta: https://www.instagram.com/baroque_anarchist/?hl=en

I am a London-based visual artist whose practice approaches painting not as image-making, but as visual thought. My artistic pseudonym is Baroque Anarchist, and it is rooted in my practice, which draws on the Baroque as both an aesthetic and philosophical method. I use classical multilayered techniques to construct works that unfold through time, materiality, and embodied perception.

I was trained at an academic art school, where I mastered Baroque multilayered painting techniques, and I also obtained a PhD in theatre design. Born during the Chernobyl Disaster, I have long been concerned with the vulnerability and resilience of the body, and with humanity’s desire for continuity through science and art. These concerns situate my practice within phenomenology and new materialist philosophy, where meaning emerges through lived experience and material agency.

In my work, the garden functions as a philosophical field rather than a motif. In dialogue with Maurice Merleau-Ponty’s phenomenology of perception, it operates as a space of becoming — growth from seed, care, attention, and unpredictability — reflecting the structures through which we shape bodies, relationships, families, labour, and scientific systems.

At the same time, my practice resonates with Gilles Deleuze’s understanding of life as process and multiplicity. Plants, bodies, and painterly matter are treated as active forces rather than symbols, influenced by new materialist thinkers such as Rosi Braidotti and Jane Bennett. Rather than offering images to be consumed, my paintings propose painting as a site of thinking, where material, body, and perception remain inseparable.

Inherited Matter begins from the body as an unstable category.

The body is no longer experienced as a fixed, self-contained form. It is continuously interpreted, scanned, modified, aestheticised, inherited and projected onto. Medicine, technology, image culture and memory all rewrite it.

In these works, I approach the body not as representation, but as pressure: flesh, fabric, organ, wound, flower and surface collapse into one another without becoming fully resolved. The paintings hold beauty and discomfort in the same field. Softness becomes structural. Excess is not decoration, but a way of testing how much matter, image and meaning a body can contain.

The series asks what the body remembers, what it inherits, and where the human form begins to dissolve.