Projects

Abundance, concept

'Agatha' 2017, Mirror-polished Stainless Steel, 230 x 230 x 500 cmIn 2017, the sculpture 'Agatha' was created from polished stainless steel, dedicated to the sculptor’s daughter, and shaped like a traditional Russian roly-poly doll—an iconic toy for anyone who grew up in the USSR. The roly-poly, symbolizing childhood and human resilience, features a unique design: its spherical body hides a weight, enabling the doll to always return to an upright position, no matter how hard one tries to topple it. The roly-poly is one of the icons of Soviet design, but the toy, long associated with the USSR, actually originated in the East. The first roly-poly in Russia appeared around 200 years ago, likely inspired by the Japanese daruma doll. The daruma represents the monk Bodhidharma, who meditated for nine years to the point that his limbs atrophied. For such devotion, he became revered in Japan, and over time, the daruma became a symbol of good luck and the fulfillment of New Year’s wishes. "In Orekhov’s sculpture, the dynamics of reflection and absorption are at play—whether actual or implied (the toy’s return movement). The roly-poly absorbs the external world, which is emphasized by the geometry of its surfaces—from bulges to funnels. But, with any movement, the moment of reflection occurs, repelling the external; the surroundings are refracted and slide off the polished surface, emphasizing the form’s independence—resilient and capable of defending itself." — A.D. Borovsky. Thus, the 'Agatha' sculpture carries a multitude of meanings, from the sculptor’s personal story honoring his daughter to deep cultural and historical associations.

"Agatha" at Stoleshnikov Street Moscow

agatha | mirror-polished stainless steel photograph by igor istupnikov

Cosmoscow 2017

"another reality" with tim parchikov photography ivan erofeev

Cosmoscow 2020

Cosmoscow 2021

The symbolic meaning of crossroads deals with choice, a twist of fate that establishes the preordained path in life. It is a place where space and time intertwine. Gregory Orekhov’s “Crossroads,” made of polycarbonate and painted over with marking paint, is a crossing across the river, among fields which seemingly have no end. This land art object is located in the Moscow region, in the area of Nikolina Gora. With this work, the artist raises the question of social, ethical and environmental behaviour. The 21st century has faced itself with acute problems of capital constructions, which contradicts the basic principles of urbanism and summons a lot of controversy and discontent among local residents. In pursuit of non-ecological development of the economy, the authorities allow more and more ground to be built upon, the nature of which is illegally destroyed for the purpose of self-gain without any clarity or thought. “Crossroads” is an attempt to turn the world's attention towards heritage preservation and to remind people about the ability of choice. Gregory Orekhov stands at the crossroads between the quiet, foggy natural world and an impending catastrophe. The object is situated at the intersection of historic events that took place here at the time of the Second World War, and those that are yet to come. This installation is not a personal reflection, more so, it is something that each of us encounters on a daily basis. This is about the unrestrained transformation of the space around, because of which, tomorrow, we can forever lose memorial places, favourite facades, birch groves, and fields that stretch into infinity, for the sake of saturation of the capitalist machine.

Gregory Orekhov placed a symbolic crosswalk onto the river

Crossroads

The site-specific installation in Moscow, titled “Crown,” features a golden stainless steel art piece embedded into the curb of a sidewalk. Photograph Nikita Subbotin

The site-specific installation in Moscow, titled “Crown,” features a golden stainless steel art piece embedded into the curb of a sidewalk.

Crown

Located in the village of Saint-Paul-de-Vence, amidst the luxury and creativity of the art hotel, the project Dream Shuttle transforms the hotel's art space into a environment where reality intertwines with dreams. In creating this unique space, the artist covered the walls, ceiling, and floor with silver bubble wrap, creating a mirror effect. This gives the gallery a sense of infinity and visual expansion of space. Pillows on the floor, also made from silver bubble wrap, invite visitors to relax and immerse themselves in a state of meditation to the sounds of music specially composed for the installation by Nikita Subbotin. Dream Shuttle offers a unique experience: to dive into one's dreams and embark on a journey through the vast expanses of consciousness. The interactivity of the installation makes each visit unique, as each visitor contributes a part of their inner world to the space. Two more works by the artist have been installed on the domain. The first, "Magic Bed", is a folding bed made of polished mirror stainless steel, set against the stone facade of the building and reflecting the sky, drifting clouds, and nature-a symbol of the ideal world dreamed of by the author. The second work, "Fust" is a dried trunk of a dead tree, covered in gold leaf, reminiscent of an architectural column and symbolizing new life and beauty reborn through art. Dream Shuttle not only showcases the artist's skill and creativity but also raises questions about the nature of dreams, memories, and our susceptibility to illusions. The exhibition is an invitation to leave behind everyday hustle and immerse oneself in a world where everyone can become the creator of their own reality. Location: Toile Blanche hotel, Saint-Paul-de-Vence, France.&nbsp;

Gregory Orekhov proposes a new project Dream Shuttle for Toile Blanche Sessions

Dream Shuttle, 2024

Gregory Orekhov presents his newest land art project titled "ECHO," crafted in the beautiful landscapes of the Moscow region's nature.Against the backdrop of the surroundings lies a majestic dried tree, serving as a unique canvas for this artistic creation. This tree, a dead spruce which had been struck by lightning years ago and eventually knocked down by the winds, now lies in a field, has become a symbol of nature's vulnerability and metaphorically of all humanity.The textured surface of the tree, infused with hot wax with red pigment, brings it to life in an entirely new context. Roots protruding from the ground are a metaphor for our internal fears and secret anxieties. In this land art piece, nature has become not just a background, but an echo of what is happening in the world. Gregory Orekhov reflects on the horror of wars and draws a parallel between natural processes and the conscious destruction of one's own kind.With the arrival of the first snow, the "ECHO" project took on a new aesthetic, interacting with the snow-covered landscape, and the vivid red color became a trace of creative influence. However, the artwork encountered an unexpected intervention. A mysterious visitor decided to alter the fate of this land art, cutting down all the protruding roots of the tree and splitting the red surface with an axe. This act not only changed the physical condition of the artwork, but also introduced new meaning. Art collided with temporality and vulnerability, becoming a metaphor for both nature and human creativity, emphasizing that even in beauty, there is room for change and loss.

Echo, 2023 - 2024

On the dry lakebed of El Mirage in California, Gregory Orekhov unfurls a red polypropylene carpet that extends for one kilometer, following an east–west axis that traces the movement of the sun from sunrise to sunset. The red line cuts across the cracked surface of the desert, forming a precise geometry in which a human being enters into a dialogue with the infinity of space.In El Mirage, action becomes a statement of presence. The line stretched across the ground aligns the human scale with that of the landscape and remains visible through different states of light: at dawn — sharply defined and still, like the first stroke of a new day; at noon — almost dissolving into a mirage; by evening — as if filled with inner light, reflecting the sunset. Transforming from sunrise to sunset, the line loses its tangibility, turning into a metaphor of time and passage.At the core of the work lies a reflection on human existence as a movement through the boundless expanse of the world. The red line becomes a manifestation of life itself, lived between beginning and end, the first light and the coming darkness. In the silent desert, where a person is left alone with space and wind, this path acquires an existential dimension: the effort to endure, to keep one’s direction, not to vanish into the mirage of one’s own reality. Like a trace left in a fragile world, the line embodies the human desire to be seen, if only for a moment, before everything is once again swallowed by silence.The installation is connected to an earlier work Nowhere (2022), created by Orekhov in Malevich Park, where a red line extended across snow in a forest. Transferred from cold to heat, from east to west, from the tranquility of the winter forest to the barren desert, the form remains the same while its meaning changes. On snow, it was a “road to nowhere”, a deconstruction of a ceremonial gesture, a line fading into infinity; in the desert, it becomes a sign of presence, an axis mirroring the path of the sun, carrying the breath of life.El Mirage is not merely land art, but a gesture of presence — a line in which faith, solitude, and the longing to leave a mark converge, even if that mark might disappear with the first gust of wind.Photography: Rafael Gamo, Gregory Orekhov, Studiolandon &nbsp; &nbsp;

On the dry lakebed of El Mirage in California, Gregory Orekhov unfurls a red polypropylene carpet that extends for one kilometer, following an east–west axis that traces the movement of the sun from sunrise to sunset. The red line cuts across the cracked surface of the desert, forming a precise geometry in which a human being enters into a dialogue with the infinity of space.

El Mirage

exhibition in honor of the 220th birthday anniversary of the poet Alexander Pushkin state museum petergof 2019

eternity, 2019

18 x 7 x 3.8 cm, solid gold 24kIn the work “Finita la Commedia,” the artist continues a dialogue with Maurizio Cattelan’s iconic piece “Comedian,” which challenged traditional notions of artistic value. Here, instead of a banana duct-taped to a wall, we see its embodiment in pure gold, suspended by an almost invisible thread from the ceiling in the empty space of a gallery. This work is not only a response but also a provocation, urging a reevaluation of what it means to be valuable in the world of art.The work explores the paradox of the art market, where an ordinary banana was sold for millions of dollars, while a golden banana—crafted from a material of eternal value—finds itself devalued. Gold, traditionally a symbol of luxury and permanence, in this context becomes merely a backdrop for a more powerful commentary: in the realm of conceptual art, true value is determined not by material but by idea, media resonance, and context.&nbsp;

Finita la Commedia 18 x 7 x 3.8 cm, solid gold 24k

Finita la Commedia

In the site-specific installation Gravity, the landscape becomes a space in which the condition of the world becomes visible. The red sphere, originally associated with the ritual of celebration and the expectation of magic, is stripped of its function and returned to the landscape as a heavy, vulnerable form without foundation.Suspended by a hemp rope from a bare century-old tree, the object exists between ground and space — neither in fall nor at rest, but in a prolonged state of uncertainty. This is not balance, but resistance to the force of gravity.The video shifts the object from linear movement into oscillation, where no trajectory alters the initial condition. Dragging across the ground gives way to swinging in space, yet none of these forms becomes an exit. The human figure and the object remain bound by a shared dependence on gravity, holding them together.The red color of the sphere does not function as a decorative accent. It becomes a dense visual mass in which traces of violence, loss, and historical memory converge. The color ceases to signify celebration and begins to operate as a symptom of a time in which the tragic becomes part of the everyday background.Nature in this project does not act as a space of harmony. The tree neither saves nor supports — it merely allows the object to exist, becoming a silent witness to what unfolds. This work records a condition of the world that continues to exist without foundation and without outcome.Photography and video by Nikita Subbotin.

In the site-specific installation Gravity, the landscape becomes a space in which the condition of the world becomes visible. The red sphere, originally associated with the ritual of celebration and the expectation of magic, is stripped of its function and returned to the landscape as a heavy, vulnerable form without foundation.

Suspended by a hemp rope from a bare century-old tree, the object exists between ground and space — neither in fall nor at rest, but in a prolonged state of uncertainty. This is not balance, but resistance to the force of gravity.

The video shifts the object from linear movement into oscillation, where no trajectory alters the initial condition. Dragging across the ground gives way to swinging in space, yet none of these forms becomes an exit. The human figure and the object remain bound by a shared dependence on gravity, holding them together.

The red color of the sphere does not function as a decorative accent. It becomes a dense visual mass in which traces of violence, loss, and historical memory converge. The color ceases to signify celebration and begins to operate as a symptom of a time in which the tragic becomes part of the everyday background.

Nature in this project does not act as a space of harmony. The tree neither saves nor supports — it merely allows the object to exist, becoming a silent witness to what unfolds. This work records a condition of the world that continues to exist without foundation and without outcome.

Gravity

Throughout history humble materials have been transformed into stunning works of art. Barrels and tin cans are a form that has appeared in contemporary art time and time again. Artists such as Piero Manzoni, Andy Warhol, Thomas Hirschhorn and Art collective Kyzyl Tractor found these objects on store shelves, in garbage cans or at warehouses for the production of barrels for storing petroleum products. As a result of marketing, we recognise these forms at once. Our eye quickly and accurately determines their functionality. &nbsp;Nonetheless, the context in which they are placed is intrinsic to our understanding of the object. It is true that, perhaps, the appearance of these objects in the field of art can be outlined under the tag of the artists’s thoughts on production (artistic, economic, overproduction). &nbsp;Sculptures by Gregory Orekhov appear against the background of a stereotypical Russian landscape - a field with a forest belt. The installation is untitled. The object &nbsp;— a standard 208 litre or 55 gallon barrel — is used to transport liquid and bulk materials, including hazardous substances, such as radioactive waste, while Orekhov replaces such with haystacks. Here the artist signifies that ecology should not be upstaged by the economy. However, there is an obvious correlation between the two, which is yet for the artist to identify: natural resources and their exchange value, the price of bread and its dependence on oil, and so on.&nbsp;If Orekhov’s “tin could speak,” &nbsp;it would talk about Russia 2020. About Norilsk and Kamchatka, as well as the situation in our country which lives on the dependency of the extraction of natural resources, producing basically nothing. An exact copy of a mirror polished stainless steel barrel is specially created by the artist; similar to the works of his predecessors, it is about production, although, unlike Hirshhorn’s ‘Too Too Much Much’ it is about what is “too little” in Russia.

Gregory Orekhov pinpoints the importance of us not forgetting about “our home” despite individual and corporate greeds furthering the destruction of our world

Harvest

On the forthcoming opening of the exhibition "Carl Fabergé &amp; Feodor Rückert. Masterpieces of Russian Enamel", a sculpture "Ovoid 7.1" by contemporary artist Gregory Orekhov was installed at the Cathedral Square of the Moscow Kremlin. The seven-part marble and fibreglass sculpture, with a height of 6.5 meters, is located nearby the entrance to the Assumption Belfry, where one of the two exhibition halls is located. The work created in 2018 is shown to the public for the first time.

exhibition at kremlin museum gregory orekhov

Moscow Kremlin Museums

Magic Bed

Major Tom

Located in the Moscow region, near the settlements of Barvikha and Nemchninovka, a park named after Kazimir Malevich has opened its doors to the public. These countryside landscapes were not only the artist’s favourite vacation spots, but also served as inspiration for his later acquired figurative style, which marked the beginning of a new chapter in his art. One of the key elements of the park is a sculpture created by Gregory Orekhov.Orekhov’s “Black Square” is the first large-scale monument created in memory of Kazimir Malevich, and a unique example of a contemporary Russian sculpture. Orekhov considered the sculpture’s captured volume and intentionally preserved its “unnaturalness” against the backdrop of the park, which is the most important characteristic of the object. Orekhov masterfully integrates the work of art within the built environment, all the while connecting the viewer to the architectural space of the landscape. Divided into two parts, Orekhov’s “Black Square” acts as a passageway into the park. The object itself is quite utilitarian in its nature. According to the artist’s idea, once we enter the “square”, we find ourselves at a crossroad — to either enter the park or enter infinity, a crossing between what occurs in real-life and hundreds of its unfulfilled variations.Orekhov was able to achieve this by placing two full-length mirrors made of polished stainless steel into the two halves of the cube. The steel sheets made in the artist’s studio have no analogues in Russia, while the surface polishing was achieved with the highest level of processing. Nevertheless, the technique is applied against itself, against the course of historical time, against progress, as a means of overcoming history and returning to the beginning of nature.The idea behind the creation of this work derives from and continues the philosophy of the most notable cultural figures of the avant-grade era of the early 20th century. The invasion of industrial production into the traditional way of living was perceived as a destruction of unity within nature, on which the millennial cultural tradition was based upon. The emulation of nature has long lost its’ value, as the world has gradually grown unstable. At the same time, the advancement in technique, not only deprived art of its claim to truth, but changed the way artists defined their creativity — not as a reflection of the world, but as its real transformation. The representation of sculpture and painting has since been regarded as something “real” — not as duplicates of real things existent in an idealistic space. “The viewer turns into an accomplice, falling into an endless corridor of reflections. The dynamics of the viewer’s movement become intriguing inside the static figure. The spatial development of the “Black Square” lies within the structure: the transition from Malevich’s two-dimensional form to the three-dimensional form of Orekhov. Yet, a different universe emerges inside the sculpture — a multidimensional space that resembles a “laughing room” or the sci-fi/horror “Cube,” writes curator andart critic Mikhail Sidlin. “Gregory Orekhov is perhaps the only Russian sculptor that works in true postminimalism.photography by nikita subbotin

Malevich

Reinterpretation of the “Black Square” continues to captivate visitors at Malevich Park, located in the Moscow region. Now, with the arrival of winter, the sculpture takes on a completely new dimension, reflecting the stark beauty of the snow-covered landscape and the crisp clarity of the season.Situated near Barvikha and Nemchinovka, the park was inspired by Kazimir Malevich’s connection to these countryside landscapes which influenced his figurative style. Orekhov’s sculpture serves as a homage to Malevich and creates a dialogue between art and nature.In winter, the polished stainless steel mirrors of the sculpture interact with the snow and the frosty air, creating an almost surreal experience. The reflective surfaces now blend seamlessly with the white expanses, offering visitors a multidimensional view that shifts between the tangible and the infinite. As curator Mikhail Sidlin remarked, “The viewer becomes an accomplice, stepping into an endless corridor of reflections.” This effect is heightened by the unique interplay of light and shadow that only the winter months can provide.While the conceptual depth of the sculpture remains unchanged, its visual impact transforms dramatically in the winter. The contrast between the geometric structure and the organic beauty of snow-covered nature emphasizes the duality of the work — a bridge between the natural and the industrial, the past and the future.The new photographs, taken by Nikita Subbotin, capture the essence of Orekhov’s vision in this seasonal transformation. They highlight how the “Black Square” evolves with its environment, offering visitors a fresh perspective with each visit.

Malevich, Winter

mir, art installation for moscow art biennale artmosphere

"Artmosphere" street art biennale at Winzavod, Moscow

Museum

A 250 meters long red carpet made out of polypropylene, made directly in the landscape, stretches across a snowy forest. Surrounded by a natural landscape, a linden alley, the canvas seems almost endless. “Here, perspective becomes the artist’s means of expression”, writes Russia’s critic Mikhail Sidlin about the work.&nbsp;Orekhov’s new installation can be compared with the works of Eric Bulatov, however it was realized not on a picturesque plane, but in Kazimir Malevich’s park, which gives the work an additional meaning — the artist’s shift into geometric abstraction, while maintaining the initial reality intact.&nbsp;Historically, the red carpet has carried a ceremonial meaning — the path of the winners. Since the time of Agamemnon, the red carpet has been laid out to welcome leaders and royalty, attributing them to a divine spark. In Soviet times, the sacred color - red - marked the route taken by heads of state on ceremonial and official occasions. Today, in Los Angeles at the Oscar ceremony or the Cannes film festival, the red carpet has been extended to use by celebrities and Olympian gods. Walking along Orekhov’s red canvas, the visitor finds oneself taking on the role of a ruler but in the end is too fascinated by the surrounding landscape. Orekhov emphasizes that the desire for fame, wealth and power is insignificant when it comes to the greatness of the universe and nature. However, “Nowhere” cannot be limited to one interpretation. The artist asks the audience the following question: where is the red line, the forbidden line that must not be crossed under any circumstances? Every day we witness more and more violations of the border, and the latter themselves seem to be more and more mobile.The opportunity to interact with Orekhov’s work, to literally cross the red line, allows one to look at the problem from a new angle and redraw for oneself the boundary of what is acceptable. &nbsp;

Nowhere

Orekhov’s “Red Vertical 2022” is an homage to Kazimir Malevich. The 7 x 5 x 2 structure calls to mind a building, but in actuality is not. The ratio of width to height is close to the proportions used by Malevich in his famous painting “Red House”, which can be now found in the collection of the State Russian Museum. The dominant vertical line was perpendicular to the horizon in the middle of the Russian Plain, in the spirit of the master. The wood frame was covered with red polyethylene, its natural folds forming a picturesque relief.‘Home’ was a reoccurring theme in Malevich’s work, dating back to 1906 when he painted the pointillist “Landscape with Yellow House”. The colour red was the leitmotif throughout Malevich’s artistic career starting in 1907, where one can notice the pomegranate shade of the bow in his “Self-portrait”. By the first half of the 1930s, it had become difficult to find works where some form of red was not important; in many paintings, it was the dominant colour.“Red House” was created in 1932. Here, Malevich combined colour and a theme long familiar to him. However, that specific combination of colour and subject produced an alarming effect of deprivation. For the building is not just a revolutionary-coloured shack, but also a tower stripped of the usual hallmarks of life — windows and doors. Before the viewer is something which carries the shape of a building deprived of its function. “Red House” stands out from the red-roofed cottages he painted right about the same time (circa 1930), which clearly feature brush-stroked windows, or his landscapes with blooming apple trees (circa 1930), in which the rural structures also retain a traditional look.“Red House” is a building that refused to be a dwelling, devoid of human qualities. The composition was formed from elements, a feeling of emptiness, loneliness, hopelessness of life, wrote Malevich on the reverse side of a different canvas, “Complex Presentiment” (1932), where a similar front-facing red house is pictured in the background. The visual possibilities of red, combined with the motif of the house, creates an unexpected result — the destruction of homeliness, which may reflect the artist’s state of mind in early 1930s Soviet Russia.Gregory Orekhov translates the painting from canvas to real life, preserving that feeling of space and the reality in which the master of “Black Square” lived out the final years of his life.Text by art critic Mikhail Sidlin &nbsp;

Gregory Orekhov translates Malevich's painting from canvas to real life

Red Vertical 2022

exhibition at the state russian museum

State Russian Museum

Cosmoscow 2019

pop-up installation in venice 2019

Salvation, Venice, 2019

SoftPower is a visual allusion to sandbags — objects deeply rooted in the imagery of war zones and natural disasters. Typically used for urgent protection and defense, they symbolize fear, pressure, and resistance. But in this work, they are stripped of weight. Instead of sand — air. Instead of threat — silence. &nbsp;These pillow-like forms, stacked in a circle, do not create a fortification, but rather a space for stillness and retreat. Not a barricade, but a temporary sanctuary. The work transforms a symbol of fear and defense into a metaphor for fragile yet resilient inner strength. SoftPower speaks to the need to defend ourselves not with weapons, but with culture. It is an attempt to protect not with a wall, but with a gesture — delicate, silent, yet full of meaning. France was chosen as the site of the project for a reason. It is one of the few countries that has long projected its cultural identity across the world, using precisely the tools of soft power. In this sense, the work becomes a dialogue — with place, with tradition, with the history of influence. SoftPower invites the viewer to enter a fragile monument. It is an architecture not of power, but of silence. Not of closure, but of concentration. A work about how art can become a form of protection — not from the world, but for it.

SoftPower is a visual allusion to sandbags — objects deeply rooted in the imagery of war zones and
natural disasters. Typically used for urgent protection and defense, they symbolize fear, pressure, and
resistance. But in this work, they are stripped of weight. Instead of sand — air. Instead of threat —
silence.

SoftPower

From open fields to the museum space.

SoftPower, museum installation

“Steel Shards” transforms the gallery into a fractured landscape, where mirrored steel plates, scattered across the floor like shards of ice, reflect emptiness, light, and the viewer, creating the illusion of a shattered reality—fragile, yet enduring.” Coming soon.&nbsp;

“Steel Shards” transforms the gallery into a fractured landscape, where mirrored steel plates, scattered across the floor like shards of ice, reflect emptiness, light, and the viewer, creating the illusion of a shattered reality—fragile, yet enduring.” Coming soon

Steel Shards, Studio

Steel Shards is a conceptual visualization of a large-scale installation by artist Gregory Orekhov, featuring composite panels with a mirror-polished stainless steel surface, arranged chaotically on a water surface. The project symbolizes rupture and restoration, reflecting narratives of migration and adaptation, aiming to integrate into the cultural landscape of New York’s Central Park.Some ideas require time before coming to fruition. When artists Christo and Jeanne-Claude first proposed the installation The Gates for Central Park, the project waited 26 years before it was realized. In public art, patience becomes part of the process: a work must not only fit into the space but also navigate a complex path of approvals – from city authorities, environmentalists, and the professional community.Gregory Orekhov presents Steel Shards – a conceptual visualization of a large-scale installation featuring composite panels with mirror-polished stainless steel surfaces, arranged chaotically on the water surface of Central Park. The project symbolizes rupture and restoration, migration and adaptation – stories that intersect but can no longer return to their original state.Steel Shards is an installation in motion. Reflecting the sky, clouds, and the silhouettes of skyscrapers, it transforms the water’s surface into a dynamic canvas. Sunlight fractures on the steel fragments; city silhouettes break apart and reassemble, creating an illusion of fragility and resilience simultaneously.New York is a city where thousands of stories intersect. It is a place where those who have left behind shattered pasts – fleeing crises, wars, personal and social upheavals – arrive in search of a new beginning. It is a city where millions of individuals, existing side by side with those of opposing ideological beliefs, strive to overcome those separating rifts in search of community. Here, fractured destinies find new paths, connections emerge, and disconnection is overcome, forming a new kind of unity. This process is familiar to the artist himself: moving to Paris became such a shard of fate – a breaking point after which new development and adaptation began.Steel Shards has already been created and tested on water in the artist’s studio. In addition, photographs were taken in the gallery space, capturing the interaction of the mirrored panels with light and spatial reflections. The polished steel absorbs and transforms the surrounding environment, becoming an extension of it.The project has been submitted for consideration, and now it is a matter of waiting for the idea to find its place in the park. The artist believes in its realization and is prepared for the long journey ahead, understanding that such processes take time. After all, art is not only about form but also about the energy of an idea gradually transforming into a material object that becomes part of the city’s history.“Some projects take time. And an artist needs to have patience, like a drop of water that wears away stone,” said Gregory Orekhov.

Steel Shards, NYC

Polished stainless steel, 999 gold, fire, 120 × 120 × 280 cmIn the installation Stripping Time, the artist creates an image of extreme concentration of form and symbol. A polished stainless steel pole, coated in the purest gold, rises from a circular mirrored podium. At its top, a barely visible candle burns — its flame becoming the conceptual and emotional focal point of the piece.While formally minimalist, the work is internally charged with tension. Here, gold does not symbolize wealth or triumph, but rather the illusion of permanence. It is a superficial layer, incapable of shielding the object from the passage of time — just as it cannot resist the small flame integrated into the structure.The fire does not destroy the object, but disturbs its illusion of immutability. It acts as a subtle indicator that even within seemingly perfect forms, time continues to flow — imperceptible, yet unstoppable. The title Stripping Time refers not so much to a bodily gesture, but to the slow peeling away of time itself — a removal of its outer layer.This is not merely a work about club aesthetics or eroticized verticality. It is a quiet image of a moment in which the promise of a fairy tale disappears, leaving behind only its reflection — cold, metallic, motionless.Photography and video by Nikita Subbotin

In the installation Stripping Time, the artist creates an image of extreme concentration of form and symbol.
A polished stainless steel pole, coated in the purest gold, rises from a circular mirrored podium. At its top, a barely visible candle burns — its flame becoming the conceptual and emotional focal point of the piece.

Stripping Time

Sunflower, a land art sculpture made from mirror-polished stainless steel, dedicated to peace prevailing over evil, war and violence, and the memory of all those who fought and died for it.The Sunflower installation, facing the sky and sun, consists of three main elements. The wheat, which symbolizes bread, sprouts from inside the outline of a polished steel table. The flawless mirror circle conveys the idea of infinite life cycles, symbolising the world and the universe with reflections of the boundless sky above it. Finally, the bench around the perimeter is intended for the main inhabitants of the world — us, the people who, when nearby, may ponder the thought that unity and closeness are more important than artificially-created conflicts, and that all contradictions can be overcome.&nbsp;“Wheat sown inside the contour germinates, matures, and then is harvested, joining an endless cycle of rebirth, turning into a 'conveyor of life' throughout the duration of its existence”, says the artist. “In this work, I ask the following question: how is it that in a world where there is everything for life and happiness, there can be so many disagreements and misunderstandings and wars created by people themselves. Isn’t there enough 'bread' and space in the world for all of us?”&nbsp;

Sunflower, concept

"Talmud" - a stainless steel sculpture rising nine meters to the sky from the surface of a lake covered in thickets of reeds. The title refers to the collection of sacred Jewish texts, but the work should be perceived more metaphorically: it is a vertical line that stores the teachings, knowledge and experience gained by people. It has no end and symbolically continues into infinity, accumulating new things as long as humanity exists.This is a larger version of the work which was first shown at Cosmoscow in 2022. "I stacked three thousand steel sheets, forming a relief on the sculpture's facets," Gregory says of the process of creating the work. The effect is one of book pages frozen in a metal column, assembled into a slender, but living form. Formed from stainless steel, the sculpture reflects the surrounding landscape, "absorbing" the world thanks to polished mirror edges. This is how additional meanings appear — "Talmud" combines both the man-made and that which unconditionally exists in the world."'Talmud' looks upwards, like Brancusi's 'Infinite Column', and this aspiration takes on a new meaning thanks to the title. The spiritual path is described in the language of sculpture. The vertical is directed towards the heavens. Orekhov translates identical pages from a short-lived and unstable state into a durable material. Knowledge in its concentrated form is a sequence of paper pages that has acquired the power of metal. The height of this giant - 9 meters - conveys a sense of the effort it takes to become a Sage," concludes critic Mikhail Sidlin.