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PÉTRO / Petr Gerasimenko (b. 1984, Zhukovsky, Russia) is a multidisciplinary artist working with monumental painting, urban environments, objects, and exhibition formats. His practice, developed over more than two decades, exists at the intersection of graffiti culture, geometric abstraction, and spatial thinking.
A second-generation artist, Petr began doing graffiti in the early 2000s. Partial hearing loss from early childhood shaped a unique way of interacting with reality, where visual signals, rhythm, movement, and context became primary sources of information. This experience influenced the development of an artistic language based on reconstruction — “completing” a coherent picture of the world from fragments.
From 2002 to 2004, he studied at Art and Cinematography Lyceum No. 333 in Moscow, specializing as a set designer and computer animation artist. Graffiti became the starting point of his method, which gradually transformed from a street statement into an independent visual system working with form, rhythm, scale, and architectural context.
In 2004, Petr founded Aesthetics Group, an artistic collective that since 2013 has operated as a duo with artist Ilya Blinov (Slak). Their collaborative practice is based on a shared philosophical approach to visual language centered on geometry, abstraction, and spatial interaction. From 2007 to 2012, he was also a member of the Moscow graffiti crew UFS, focused on classic graffiti and train-bombing culture.
PÉTRO practice spans a wide range of scales — from intimate objects to large infrastructure and facade projects. He has created some of the tallest monumental residential murals in Russia and the CIS (up to 74 meters), as well as projects for museums, theaters, and public spaces. In several works, he explores the interaction of painting, architecture, and light, including the integration of LED elements and digital media.
PÉTRO has participated in more than 60 group exhibitions and festivals in Russia and abroad and has authored over ten solo projects, including exhibitions at Ruarts Gallery and Foundation. He has taken part in the Artmossfera Street Art Biennale and has worked as a coordinator and co-curator of festival and biennale public art projects.
His works are held in the collections of the Ruarts Foundation, Artmossfera Foundation, Suzdal Museum of Fine Arts, and the Street Art Museum in Saint Petersburg; archival materials are included in the collection of the Garage Museum of Contemporary Art. In 2013, he received the Most Awards as Street Artist of the Year. In 2023, he was nominated for the Moscow Art Prize and the Sergey Kuryokhin Award in the Public Art category.
He lives and works in Zhukovsky, Russia.
A second-generation artist, Petr began doing graffiti in the early 2000s. Partial hearing loss from early childhood shaped a unique way of interacting with reality, where visual signals, rhythm, movement, and context became primary sources of information. This experience influenced the development of an artistic language based on reconstruction — “completing” a coherent picture of the world from fragments.
From 2002 to 2004, he studied at Art and Cinematography Lyceum No. 333 in Moscow, specializing as a set designer and computer animation artist. Graffiti became the starting point of his method, which gradually transformed from a street statement into an independent visual system working with form, rhythm, scale, and architectural context.
In 2004, Petr founded Aesthetics Group, an artistic collective that since 2013 has operated as a duo with artist Ilya Blinov (Slak). Their collaborative practice is based on a shared philosophical approach to visual language centered on geometry, abstraction, and spatial interaction. From 2007 to 2012, he was also a member of the Moscow graffiti crew UFS, focused on classic graffiti and train-bombing culture.
PÉTRO practice spans a wide range of scales — from intimate objects to large infrastructure and facade projects. He has created some of the tallest monumental residential murals in Russia and the CIS (up to 74 meters), as well as projects for museums, theaters, and public spaces. In several works, he explores the interaction of painting, architecture, and light, including the integration of LED elements and digital media.
PÉTRO has participated in more than 60 group exhibitions and festivals in Russia and abroad and has authored over ten solo projects, including exhibitions at Ruarts Gallery and Foundation. He has taken part in the Artmossfera Street Art Biennale and has worked as a coordinator and co-curator of festival and biennale public art projects.
His works are held in the collections of the Ruarts Foundation, Artmossfera Foundation, Suzdal Museum of Fine Arts, and the Street Art Museum in Saint Petersburg; archival materials are included in the collection of the Garage Museum of Contemporary Art. In 2013, he received the Most Awards as Street Artist of the Year. In 2023, he was nominated for the Moscow Art Prize and the Sergey Kuryokhin Award in the Public Art category.
He lives and works in Zhukovsky, Russia.
PÉTRO artistic practice is shaped by an atypical sensory experience and a constant need to reconstruct perceived reality. Partial hearing loss from early childhood defined a model of interaction with the world in which visual information, rhythm, movement, and spatial context become primary sources of meaning.
Fragmentary perception leads to a strategy of “completion” — synthesizing disparate elements into a unified system. This principle forms the foundation of the artistic method: irregular, chaotic structures coexist with strict geometric constructions. The former reflect instability and incompleteness of sensory experience; the latter represent an attempt to organize and build a personal system of coordinates.
His visual language originated in graffiti practice and evolved into an autonomous artistic system focused on form, rhythm, and scale. Typographic and geometric structures function as universal elements of visual communication that exist beyond literal meaning.
The practice spans a wide range of media — from street and monumental murals to objects, sculpture, and exhibition projects. Regardless of format, the works are built in dialogue with space, treating architecture and the urban context as active participants in the artistic statement.
Fragmentary perception leads to a strategy of “completion” — synthesizing disparate elements into a unified system. This principle forms the foundation of the artistic method: irregular, chaotic structures coexist with strict geometric constructions. The former reflect instability and incompleteness of sensory experience; the latter represent an attempt to organize and build a personal system of coordinates.
His visual language originated in graffiti practice and evolved into an autonomous artistic system focused on form, rhythm, and scale. Typographic and geometric structures function as universal elements of visual communication that exist beyond literal meaning.
The practice spans a wide range of media — from street and monumental murals to objects, sculpture, and exhibition projects. Regardless of format, the works are built in dialogue with space, treating architecture and the urban context as active participants in the artistic statement.
Education
Solo exhibitions
Group exhibitions
Art fairs
Festivals
Urban projects
Organization
Residencies
Awards / Nominations
Catalogues
Publications
Online publications
Films
Collections
Archive
Public talks