Alexander Kulikov
Digital Art artist
Искусство для интерьера
"The works of Peshe (Alexander Kulikov) are more than just photography. Blurring the boundaries between genres, his art touches the cultural codes of different eras, giving rise to a unique and distinctive visual language. The technique of digital collage enables him to fully realize his artistic vision. His works are instantly recognizable and have been exhibited in various galleries, as well as held in private collections and art foundations."
Alexander Kulikov (Peshe) Born in Moscow, 1988
Education:
2005–2012 — Stroganov Moscow State University of Arts and Industry Faculty of Furniture and Interior Design
Awards:
2015 — IPA CIS, Gold Medalist in the category of Fine Art
Exhibitions
2008 — Silver Camera
2012 — Peshe, Solo Exhibition
2016 — Lace on Display, Moscow Museum of Decorative, Applied and Folk Art
2017 — Eclecticism, Solo Exhibition
2017 — Art Now, Central House of Artists (CDKh)
2020 — Art Russia, Mae Solo
2021 — Art Russia, Manege, presented by InGallery
2021 — Open Area, Alpert Gallery
2022 — Blazar, 159f Gallery
2023 — Art Russia
2023 — The Wrong Biennale, Digital Art Exhibition
2024 — Art Russia
2024 — Paraphrasis, Artefact Gallery
Fine Art Photography
The artistic exploration of photographic imagery began almost immediately after the invention of photography itself. As early as the 19th century, artists began experimenting with techniques such as combination printing, multiple exposure, complex lighting setups, and elaborate staged scenes — all in an effort to push beyond the medium’s purely documentary function.
Over time, photography evolved from being merely a technical or auxiliary tool into a fully recognized art form. Its expressive potential became a subject of both artistic and theoretical investigation, and the medium itself emerged as an independent platform for visual expression, standing on equal footing with painting and drawing.
Over time, photography evolved from being merely a technical or auxiliary tool into a fully recognized art form. Its expressive potential became a subject of both artistic and theoretical investigation, and the medium itself emerged as an independent platform for visual expression, standing on equal footing with painting and drawing.
Creative Process
The process of creating new work is always fascinating, though I have a rather strict inner censor.
I often carry ideas for a long time before they come to life—while some pieces arrive effortlessly, in every case, it’s essential for me to live through the work, to fully feel and internalize it, and to bring it to a state of inner resolution before I can share it with the world. My background in art education supports this process: the principles of composition, rhythm, color, and form are universal. They remain relevant regardless of the medium and continue to guide my creative decisions.
I often carry ideas for a long time before they come to life—while some pieces arrive effortlessly, in every case, it’s essential for me to live through the work, to fully feel and internalize it, and to bring it to a state of inner resolution before I can share it with the world. My background in art education supports this process: the principles of composition, rhythm, color, and form are universal. They remain relevant regardless of the medium and continue to guide my creative decisions.
A bobbin is a tool used in threadwork.
By assembling and texturing lace patterns, I reinterpret them—transforming familiar ornamentation into new painterly connections and images. In these intricate designs, one might glimpse lace-like clouds, forests, meadows, and rivers.
"And she dreams that she is flying above the earth, and the land below is embroidered all in lace…"
What we see are fragments of her dream—a metaverse, her inner world.
The lace patterns become a kind of “cultural QR code”—a proto-language read intuitively by viewers across the globe, rich in fractal sacredness and visual metaphor.
By assembling and texturing lace patterns, I reinterpret them—transforming familiar ornamentation into new painterly connections and images. In these intricate designs, one might glimpse lace-like clouds, forests, meadows, and rivers.
"And she dreams that she is flying above the earth, and the land below is embroidered all in lace…"
What we see are fragments of her dream—a metaverse, her inner world.
The lace patterns become a kind of “cultural QR code”—a proto-language read intuitively by viewers across the globe, rich in fractal sacredness and visual metaphor.
«Dream of the Bobbin»
The cliché phrase “I am an artist — this is how I see things” probably fits any creative person, and I’m no exception. I was born into a creative family, and from childhood, I’ve been drawn to seeing beauty and creating it. Photography has become a wonderful tool for that. Each new work is for me a creative experiment, a search for new harmonies and resonances. My aesthetic relationship with the world through creativity often saves me and gives me new strength. Beauty certainly won’t save the world, but it definitely won’t harm it either.
I find inspiration both in the imagery of global art culture and in everyday objects — whether it’s a crumpled plastic bag or a streak of paint on a fence. Everything around us can acquire new meanings and significance if seen from a different perspective. This is the essence of the artist’s dialogue with the world. An object suddenly ceases to be just an object — it becomes an image. Where chance transforms into composition and the mundane becomes a gesture.
I conceive my works not only in terms of lofty categories like eternity but also through space and matter, since I create them for people. Having a background in interior design, I possess spatial thinking that helps me craft pieces that don’t just look good but actively engage in a dialogue with the viewer and the surrounding interior space.
"It’s beneficial for a photograph when it is printed."
I print my works on metal, then coat them with varnish and hand-polish each piece — this process gives the image a unique depth and presence. There are other fabrication methods I use as well; the choice of technique depends on the nature of the image itself and the space where the work will be displayed.
Each panel comes with an artist’s certificate detailing all necessary information: title, technique, size, edition number, and date of creation.
Each panel comes with an artist’s certificate detailing all necessary information: title, technique, size, edition number, and date of creation.
It is art that transforms a space into a reflection of personality. A carefully chosen artwork does more than just complement an interior — it engages in a dialogue with it, highlights its unique features, creates an emotional atmosphere, and, of course, inspires.
About the Interior:
A home without art is like a home without windows.
For artwork selection or any other inquiries, feel free to contact me:
Alexander Kulikov