RYASKARTSTYLE is an artist whose creative method was shaped by the street. Concrete fences, roofs, and factory walls were RYASKARTSTYLE’s first canvases on which he printed his protest to aggressive industrialism. RYASKARTSTYLE’s paintings are deliberately simplistic – reduced to stenciled primitivism. The street became the basic school where the artist began to create poems of ideal spaces without man, in which there is only room for “absence. RYASKARTSTYLE’s first exhibitions were on fences, the sides of garbage cans, and the hulls of broken-down cars. Then RYASKARTSTYLE bolted his canvases to concrete highway structures, where he burned them with kerosene lamps. After this ritual of purification by fire, RYASKARTSTYLE turned his energy to the space of galleries and museums. 

Despite this shift of interest from blasphemous industrialism to emaciated exhibition halls, his canvases retained the “absence”, acquired during a period of active protest against ruthless mechanization. This view of the artist has proved popular with a large number of collectors and art critics living in luxurious penthouse interiors, where for them RYASKARTSTYLE paintings became windows into a world of “absence .”

RYASKARTSTYLE celebrates not life, but rather its “absence.” Bright colors and open geometry of forms are cunning maneuvers of the artist, hiding the deep tragedy of man in civilized society under the celebration of decorativism: we create perfect sets of views, perfect sets of objects, perfect sets of shadows falling from our perfectly set objects… but we are not God –we cannot inhabit that was created by man.