SECRET CITY

These are unglamorous spaces—those located on the edges and in the backlots, in vacant courtyards, abandoned industrial zones, and in the farthest corners of parks and embankments. These objects seem neither fully materialized nor rooted in this world; simultaneously, they are permeable and open to it: incomplete or partially ruined structures that only hint at their outlines; within which one is neither inside nor outside—various frames, greenhouses, industrial installations, fences, gazebos, derelict playgrounds, pergolas, and even forms whose function is undefined.

This quality places them in a liminal space—a space «in-between"—where you no longer belong to the intelligible, protected, and stable space «inside,» yet you are no longer «outside» in a clearly organized, structured urban environment.

A space is formed where it is possible to experience a different state and not belong to recognizable worlds. In childhood, such places awakened a state of play—a transition into one’s own world. Something ambiguous, lacking a clear function or purpose, open in all directions, yet simultaneously defined by a boundary. Like a charm, an invisible net, a shield, an unseen dome—it is the structure of another world and its portal.

The techniques and materials used were chosen to convey this subtle sense of liminality and near-sacredness—as if the image were being veiled by gauze or obscured by other visual interference, or appearing as a poorly printed impression.

Physically, the acrylic drawing is sealed between two layers: a lower base and an upper, translucent overlay composed of the finest papers, ranging from fine art stock to scraps and technical papers.