The series of paintings was for me an attempt at self-identification, and it was carried out through an appeal to the family archive, or rather to the phenomenon of vacations in the post-Soviet space. The exhibition was realized through an autofiction where I used artifacts, on the one hand (negatives of family vacations), and on the other hand, I see it as a reference to a whole social stratum. I tried to see the post-Soviet ghosthood not through the external world, but through the characters. The phenomenon of the post-Soviet man who received a voucher to the resorts of the Krasnodar region from a city-forming enterprise, built on the wasteland or historical land of the displaced or colonized indigenous population. These places appear as a kind of "ideal" space, "Brazil", "Wonderland" for recreation with its own rules and patterns, the laws of self-presentation, taking pictures in certain places, riding on an inflatable banana in the sea.

Perhaps it was the blurring of outlines on the negative that led me to the technique of working with material in which I could not make out facial features. I mostly used my own photographs as the basis, but many working class people may recognize their family leisure time in these works.