Plastic and stylistic features of my painting, namely the principles of decorativism, generalization, stylization, and monumentality, marked by the experience of working in artistic ceramics and sculpture, were transposed into the techniques and peculiar individual technique of my painting. These features tend to relief plastics with emphasized volume, refined silhouette, texture and enhanced flatness of elements and details.

The structure and compositional principles of my works are based on the combination of planar elements and motifs with the spatial qualities of objects, silhouettes with volumetric forms, and the line is combined and alternated with a spot. I pay great attention to the texture, which reveals the material qualities of objects and acts as a separate decorative element of the rhythmic organization of the canvas.

The style of my painting, the direction of the stroke, its thickness and size is not only a manifestation of color and shape. Each stroke of the brush is a separate element in the structure of the whole composition of the work, so you need to think over everything in advance, keep in mind the final result, make preliminary sketches. Then the artist is not like a camera, but passes what he sees through himself and selects the most characteristic.

The character of the stroke, its plasticity for me is a ready-made element, like a part of a mosaic. And these elements-strokes I combine and group into separate tonal and color chords, just like a composer writes a piece of music. I believe that the picture can not only be contemplated, but also "listened to".

Since I teach students the subjects "Theory of Composition" and "Theory of Color", I apply this knowledge in most of my plot-themed works, landscapes and still lifes, as well as portraits. I subordinate the artistic form, plastic language to objective laws based on psychology and visual perception of the depicted. 

All my pedagogical activity is a symbiosis of practice and theory. Once I was impressed by the book "On the Beauty of Art" by Rudolf Tepper (the second title is "Reflections and Notes of a Geneva Artist"). Professor of aesthetics at the University of Geneva R. Tepfer published his work in the 40s of the XIX century. In one of the chapters R. Tepfer says about teachers: "The best teacher is nature itself." In fact, it is the only teacher, because the artist-teacher is an intermediary between nature and the student.

Pedagogy is a subtle science. Each artist has his own system, a manner that is suitable only for himself, and this can harm the student. Blind imitation of the teacher can destroy the identity of the student. If the teacher is "heavy", then the students will be like that; if the teacher is distinguished by the simplicity of the drawing - the student will be "cold", without emotions; if the teacher works out the form very carefully - the student will "lick"; if the teacher is bold in composition - the student will be thoughtless.

Ukrainian artist and art theorist Mykola Pysanko (author of the book "Movement, Space, Time") argued that an artist who uses intuition rather than objective laws, rules and techniques in his work will not always be able to convey the artistic idea to the viewer. M. Pysanko researched and scientifically substantiated the laws of the picture plane as the primary environment of the artistic image. He interpreted the picture plane not only as a geometric form, but as an energy-spatial construction that contains the semantic differences of the top and bottom, left and right sides. In short, the format of the picture itself: rectangle, square, etc. is an energetic-spatial construction - not static, alive, which contains different emotional and meaningful zones that are outside the picture. Therefore, we should teach objective laws, rules and techniques in art, and not impose our subjective views. 

In my works, I reflect the period of life and everyday life of Hutsuls from the XVIII to the early 30s of the XX century. I am also engaged in research work: I am working on my dissertation research "Reception of Hutsulshchyna in Polish painting of the second half of the XIX century - the first third of the XX century". I believe that the national face of Polish art was formed in the nineteenth century on the basis, in part, of Hutsul culture.