Quiet hour
2026
Solo project. 3D-printed photopolymer resin, 3D animation, fabric
Quiet Hour refers to a period of silence — a time of total and enforced muteness, when speech comes to an end and silence takes its place.
The exhibition is dedicated to fog as both a natural and a social phenomenon. In Russian, the word for fog (tuman) shares its root with the term smuta, used to describe the Time of Troubles in the early seventeenth century — a period marked by the end of the first royal dynasty, famine, and struggles for power in the aftermath of Ivan the Terrible’s oprichnina. The Time of Troubles is defined by a profound uncertainty about the future, by the obscurity and ambiguity of what is happening — not only in the life of one person, but in the lives of everyone.
The installation consists of a carefully choreographed route with three key points along the way. Following a U-shaped path through the space, the viewer encounters three pairs of cloudy, translucent seventeenth-century boots, each illuminated within the dimness.
The first pair stands near the entrance. The boots are still almost new, marked only by a few creases. They hold their shape well and have been placed neatly side by side.
The second pair appears at the next illuminated point. These are the same boots, but no longer carefully arranged. They lie abandoned on the floor, as if hastily removed and forgotten.
The third pair is located in a dead end, hidden from immediate view upon entering. Here the boots have been scattered apart, as though thrown by an external force. They are crushed, worn, and visibly aged.
The boots — the same pair shown in three different states — are situated within a labyrinth of fabric onto which moving fog is projected. Within the fog, one can make out wandering lights, running horses, flying arrows, and flocks of crows taking flight.
The exhibition is dedicated to fog as both a natural and a social phenomenon. In Russian, the word for fog (tuman) shares its root with the term smuta, used to describe the Time of Troubles in the early seventeenth century — a period marked by the end of the first royal dynasty, famine, and struggles for power in the aftermath of Ivan the Terrible’s oprichnina. The Time of Troubles is defined by a profound uncertainty about the future, by the obscurity and ambiguity of what is happening — not only in the life of one person, but in the lives of everyone.
The installation consists of a carefully choreographed route with three key points along the way. Following a U-shaped path through the space, the viewer encounters three pairs of cloudy, translucent seventeenth-century boots, each illuminated within the dimness.
The first pair stands near the entrance. The boots are still almost new, marked only by a few creases. They hold their shape well and have been placed neatly side by side.
The second pair appears at the next illuminated point. These are the same boots, but no longer carefully arranged. They lie abandoned on the floor, as if hastily removed and forgotten.
The third pair is located in a dead end, hidden from immediate view upon entering. Here the boots have been scattered apart, as though thrown by an external force. They are crushed, worn, and visibly aged.
The boots — the same pair shown in three different states — are situated within a labyrinth of fabric onto which moving fog is projected. Within the fog, one can make out wandering lights, running horses, flying arrows, and flocks of crows taking flight.