«Limited Space»⠀|⠀Substation gallery⠀|⠀Moscow⠀|⠀2025
In this series, Petro explores the intricate visual fabric of the urban environment—
from the railroad corridors of the Moscow region to Eastern minimalism.
The starting point is the artist’s everyday experience of interacting with the city as a space of fences, grey zones, and often senseless restrictions. At first glance devoid of aesthetic potential, these elements become triggers for artistic analysis.
The canvases serve as fixations of the urban landscape through a kind of "digital markers," points of reference within endless urban labyrinths. Created on the eve of a journey through Japan, these works already anticipate impressions of Japanese visual culture with its emphasis on temporality and fragmentariness.
The later works on paper and glass—more minimalistic yet at the same time more painterly in their language—map not so much the external landscape as the inner states provoked by an encounter with a different spatial philosophy.
«Limited Space» is both a visual diary and an exploration of point of view as a cartography of terrain, where the coordinates lead not from point A to point B, but inward—toward new ways of seeing.
from the railroad corridors of the Moscow region to Eastern minimalism.
The starting point is the artist’s everyday experience of interacting with the city as a space of fences, grey zones, and often senseless restrictions. At first glance devoid of aesthetic potential, these elements become triggers for artistic analysis.
The canvases serve as fixations of the urban landscape through a kind of "digital markers," points of reference within endless urban labyrinths. Created on the eve of a journey through Japan, these works already anticipate impressions of Japanese visual culture with its emphasis on temporality and fragmentariness.
The later works on paper and glass—more minimalistic yet at the same time more painterly in their language—map not so much the external landscape as the inner states provoked by an encounter with a different spatial philosophy.
«Limited Space» is both a visual diary and an exploration of point of view as a cartography of terrain, where the coordinates lead not from point A to point B, but inward—toward new ways of seeing.
«System of Entropy»⠀|⠀RuArts gallery⠀|⠀Moscow⠀|⠀2024
In «System of Entropy», Petro examines uncertainty as a fundamental condition of artistic creation. Drawing on his twenty-year evolution from classical graffiti to geometric abstraction, the artist deliberately dismantles his previously precise architectural compositions, emphasizing fragmentation and collage-like construction.
The project’s starting point is the image of a calendar — a symbol of structure and a metaphor for the blank canvas. Another key motif is «digital emptiness» (the transparent Photoshop pattern), evoking the boundlessness of the digital realm. The palette of red, grey, and black bridges systematic thinking with the aesthetic legacy of the Russian avant-garde.
The project forms an intentional paradox: the search for a «system» within entropy, not to overcome it but to operate through it. Petro’s monumental canvases articulate the simultaneous presence of order and disorder, highlighting the instability of visual structures in contemporary culture.
The project’s starting point is the image of a calendar — a symbol of structure and a metaphor for the blank canvas. Another key motif is «digital emptiness» (the transparent Photoshop pattern), evoking the boundlessness of the digital realm. The palette of red, grey, and black bridges systematic thinking with the aesthetic legacy of the Russian avant-garde.
The project forms an intentional paradox: the search for a «system» within entropy, not to overcome it but to operate through it. Petro’s monumental canvases articulate the simultaneous presence of order and disorder, highlighting the instability of visual structures in contemporary culture.
«Form»⠀|⠀RuArts foundation⠀|⠀Moscow⠀|⠀2021
In this project, Petro returns to the foundation of any graffiti style — the shape of the letter. While working on the “Graffiti Alphabet” project, he simultaneously explores his own visual system: how a line becomes an object, and how a surface turns into architecture.
Petro builds multilayered plywood structures, assembling them like a construction set. These works merge graphic precision, the aesthetics of the Russian avant-garde, and the artist’s personal background rooted in street culture.
A key direction of the project is upcycling.
Using leftover fragments from the laser-cutting process, Petro transforms accidental shapes into new compositions, revealing the hidden “biography” of each piece.
The exhibition presents sculptures, assemblages, and Petro’s interpretation of the letter “F” — a series in which abstraction becomes a way to speak about the nature of the sign, the appearance and disappearance of meaning, and the fragile ephemerality of street art.
Petro builds multilayered plywood structures, assembling them like a construction set. These works merge graphic precision, the aesthetics of the Russian avant-garde, and the artist’s personal background rooted in street culture.
A key direction of the project is upcycling.
Using leftover fragments from the laser-cutting process, Petro transforms accidental shapes into new compositions, revealing the hidden “biography” of each piece.
The exhibition presents sculptures, assemblages, and Petro’s interpretation of the letter “F” — a series in which abstraction becomes a way to speak about the nature of the sign, the appearance and disappearance of meaning, and the fragile ephemerality of street art.
«Dualism»⠀|⠀MEL space⠀|⠀Moscow⠀|⠀2014
The project «Dualism» is simultaneously a new point of departure—a kind of manifesto of the renewed Aesthetics group—and a platform for creative experimentation by the artistic tandem of the two authors. The first joint exhibition by Petro and Slak is a visual exploration of the dual nature of the creative process, in which two equal yet opposing components of cognition are activated—reason and emotion.
Aesthetics’ turn to this theme is no coincidence. Petro and Slak are active representatives of a new movement in graffiti—abstract lettering. While rejecting most traditional canons of classic graffiti, Petro and Slak remain faithful to its fundamental basis: writing their own nicknames.
Abstract form is inherently conceptual and irrational. Yet behind every combination of form and color lies a clear intention of the artist—specific motives and goals. The pseudonym of a street artist serves as a distinct sign, a visible testimony to the presence of the author’s personality within the work, while the image itself—its style, technique, and color palette—conveys an emotional message.
Aesthetics present their vision of the duality of a unified whole through ten pairs of canvases created in two diametrically different techniques—graphic and expressive painterly. These abstract diptychs are the result of a profound self-analysis by the artists during the creative process, a close study of the deepest mechanisms of the intellectual-emotional dialectic of artistic activity.
Aesthetics’ turn to this theme is no coincidence. Petro and Slak are active representatives of a new movement in graffiti—abstract lettering. While rejecting most traditional canons of classic graffiti, Petro and Slak remain faithful to its fundamental basis: writing their own nicknames.
Abstract form is inherently conceptual and irrational. Yet behind every combination of form and color lies a clear intention of the artist—specific motives and goals. The pseudonym of a street artist serves as a distinct sign, a visible testimony to the presence of the author’s personality within the work, while the image itself—its style, technique, and color palette—conveys an emotional message.
Aesthetics present their vision of the duality of a unified whole through ten pairs of canvases created in two diametrically different techniques—graphic and expressive painterly. These abstract diptychs are the result of a profound self-analysis by the artists during the creative process, a close study of the deepest mechanisms of the intellectual-emotional dialectic of artistic activity.
«5 Corners»
Ruarts foundation⠀|⠀Сurator Katrin Borisov⠀|⠀Moscow, Russia⠀|⠀Nowember, 2025
Ruarts foundation⠀|⠀Сurator Katrin Borisov⠀|⠀Moscow, Russia⠀|⠀Nowember, 2025
«Public Art. Art in Public Spaces in Russia»
«Russian House»⠀|⠀Сurator Ermakov Roman, Anna Malik-Korolenkova⠀|⠀Berlin, Germany⠀|⠀September, 2025
«Russian House»⠀|⠀Сurator Ermakov Roman, Anna Malik-Korolenkova⠀|⠀Berlin, Germany⠀|⠀September, 2025
«Underground Public Space»
«Wall Works» gallery⠀|⠀Сurator Claude Kunetz⠀|⠀Paris, France⠀|⠀February, 2022
«Wall Works» gallery⠀|⠀Сurator Claude Kunetz⠀|⠀Paris, France⠀|⠀February, 2022
«Open Microphone»
«Octava» space⠀|⠀Сurator Sabina Chagina⠀|⠀Tula, Russia⠀|⠀September, 2021
«Octava» space⠀|⠀Сurator Sabina Chagina⠀|⠀Tula, Russia⠀|⠀September, 2021
«Fabric of the Future»
«Ivanovo» rail station⠀|⠀Сurator Misha Most, Jakob Yakubov⠀|⠀Ivanovo, Russia⠀|⠀August, 2021
«Ivanovo» rail station⠀|⠀Сurator Misha Most, Jakob Yakubov⠀|⠀Ivanovo, Russia⠀|⠀August, 2021
«Escape Into Reality»
Pop-up space⠀|⠀Сurator Pavel Rtue⠀|⠀Sevastopol’, Russia⠀|⠀April, 2021
Pop-up space⠀|⠀Сurator Pavel Rtue⠀|⠀Sevastopol’, Russia⠀|⠀April, 2021
«Overcoming Distances»
CEH «Manege»⠀|⠀Organization Artlife⠀|⠀Moscow, Russia⠀|⠀September, 2020
CEH «Manege»⠀|⠀Organization Artlife⠀|⠀Moscow, Russia⠀|⠀September, 2020
«Nothing Box»
Space «Basmanniy Dvor»⠀|⠀Сurator Anatoliy Akue⠀|⠀Moscow, Russia⠀|⠀March, 2020
Space «Basmanniy Dvor»⠀|⠀Сurator Anatoliy Akue⠀|⠀Moscow, Russia⠀|⠀March, 2020
«Where do the Vines Lead»
Space «Rama»⠀|⠀Сurator Anna Mohova⠀|⠀Sevastopol’, Russia⠀|⠀July, 2020
Space «Rama»⠀|⠀Сurator Anna Mohova⠀|⠀Sevastopol’, Russia⠀|⠀July, 2020
«L’Avenir»
«Mirus» gallery⠀|⠀Сurator Poesia⠀|⠀Denver, USA⠀|⠀May, 2019
«Mirus» gallery⠀|⠀Сurator Poesia⠀|⠀Denver, USA⠀|⠀May, 2019
«The Art of Winning»
Private space⠀|⠀Сurator Uriy Sinozasky⠀|⠀Moscow, Russia⠀|⠀February, 2019
Private space⠀|⠀Сurator Uriy Sinozasky⠀|⠀Moscow, Russia⠀|⠀February, 2019
«Project 64»
Pavilion «Optics», VDNH⠀|⠀Сurator Sabina Chagina⠀|⠀Moscow, Russia⠀|⠀September, 2016
Pavilion «Optics», VDNH⠀|⠀Сurator Sabina Chagina⠀|⠀Moscow, Russia⠀|⠀September, 2016
«Limit»
«Artmossphere» 2-Biennale of street art⠀|⠀Сurator Dmitry Aske⠀|⠀1.80 х 2.20 х 2.50 м⠀|⠀Metal⠀|⠀CEH «Manege»⠀|⠀Moscow, Russia⠀|⠀September, 2016
«Artmossphere» 2-Biennale of street art⠀|⠀Сurator Dmitry Aske⠀|⠀1.80 х 2.20 х 2.50 м⠀|⠀Metal⠀|⠀CEH «Manege»⠀|⠀Moscow, Russia⠀|⠀September, 2016
«Metaforms»
Petro x Slak⠀|⠀Сentr «Mars»⠀|⠀Сurator Sabina Chagina⠀|⠀Moscow, Russia⠀|⠀April, 2016
Petro x Slak⠀|⠀Сentr «Mars»⠀|⠀Сurator Sabina Chagina⠀|⠀Moscow, Russia⠀|⠀April, 2016
«Artmossphere» 1-Biennale of street art
Petro x Slak⠀|⠀CEH «Artplay»⠀|⠀Moscow, Russia⠀|⠀September, 2014
Petro x Slak⠀|⠀CEH «Artplay»⠀|⠀Moscow, Russia⠀|⠀September, 2014
«Urbanism: City In My Head»
Сurator MSK Eastside gallery⠀|⠀Museum Moscow⠀|⠀Moscow, Russia⠀|⠀May, 2014
Сurator MSK Eastside gallery⠀|⠀Museum Moscow⠀|⠀Moscow, Russia⠀|⠀May, 2014
«Tranzit Zone»
Curator Nailya Allahverdieva⠀|⠀Museum of contemporary art PERMM⠀|⠀Perm’, Russia⠀|⠀March, 2013
Curator Nailya Allahverdieva⠀|⠀Museum of contemporary art PERMM⠀|⠀Perm’, Russia⠀|⠀March, 2013
«Where Viewable»
Curator Konstantin Grouss⠀|⠀«Moskvich» cultural center⠀|⠀Moscow, Russia⠀|⠀October, 2013
Curator Konstantin Grouss⠀|⠀«Moskvich» cultural center⠀|⠀Moscow, Russia⠀|⠀October, 2013
«Nike»
Curator Dmitry Oskes⠀|⠀«Telegraph» space⠀|⠀Moscow, Russia⠀|⠀September, 2013
Curator Dmitry Oskes⠀|⠀«Telegraph» space⠀|⠀Moscow, Russia⠀|⠀September, 2013
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