The Lovecraft series refers to H. P. Lovecraft’s story “The Colour Out of Space” (1927). In this tale, Lovecraft describes the fall of a meteorite in the countryside and its destructive effect on the surrounding world. The stone found in the crater emits a strange color, unlike anything in the earthly spectrum. This “color” is not merely a pigment, but an active substance, alien to human perception. It seeps into the soil and water, alters plants and animals to the point of grotesque mutations, and gradually infects humans themselves, draining them of life. In the end, the land around the farm becomes scorched and dead, and the “color” disappears, as if returning to the cosmic void from which it came.

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The works are made on primed paper. The artist begins with oil painting: in the background emerges a landscape — a generalized horizon, earth, and sky. On top of this painted surface appear bright acrylic drops. They are not applied all at once but formed through a process requiring time and patience: each drop dries, and then a new layer of diluted acrylic is poured into it. This produces an effect of layering, crystallization, accumulation. The acrylic paint creates something between an organic stain and a digital “glitch.” These drops, like Lovecraft’s “color,” do not belong to the familiar landscape.

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A special place in the interpretation of these works is occupied by the philosophy of “dark vitalism” (Ben Woodard). Dark vitalism attempts to think of life outside of human experience — as an endless process of metamorphoses in which there is no center, no subject, and no harmony. It is life as an alien force, capable of generating not only the beautiful, but also the grotesque, the toxic, the threatening.

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The Lovecraft series is an attempt to literally embody the nonhuman. The long process of creating the acrylic drops — with their drying, refilling, and accumulation — resembles organic growth. These forms are not fully subject to strict authorial control: the artist initiates the process, but it unfolds on its own, following the chemical and physical laws of drying and spreading.

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In this sense, the Lovecraft paintings can be understood as hybrids of painting and material autonomy. Two dimensions meet here: the traditional painted surface, shaped by the artist’s hand, and the spontaneous becoming of the drops.

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