How Spring Comes

Seva Boytsov

March 27 — April 19, 2026
Gallery "Triumph"

The artist’s practice is built on the collision of opposites: the light and the heavy, the naive and the rough, the recognizable and the disintegrating.

Triumph Gallery presents Seva Boytsov’s solo exhibition How Spring Comes. The artist’s practice is built on the collision of opposites: the light and the heavy, the naive and the rough, the recognizable and the disintegrating. His works draw the viewer into a process of perceptual engagement, while simultaneously appealing to a bodily sense of material and the recognition of displaced yet familiar forms. Spring landscapes on rice paper, composed of touches of color and unstable forms, seem to hold fleeting states of nature that quickly slip away.

How Spring Arrives
2023
Rice paper, tempera, pigment
96×125 cm

Triumph Gallery presents Seva Boytsov’s solo exhibition How Spring Comes. The artist’s practice is built on the collision of opposites: the light and the heavy, the naive and the rough, the recognizable and the disintegrating. His works draw the viewer into a process of perceptual engagement, while simultaneously appealing to a bodily sense of material and the recognition of displaced yet familiar forms. Spring landscapes on rice paper, composed of touches of color and unstable forms, seem to hold fleeting states of nature that quickly slip away.

They are set against a series of vegetables on canvas, with their подчеркнутая материальность: here, form is asserted through repetition, density, and attention to texture. Vegetables and fruits cease to be part of everyday life and become independent, almost monumental images. This line reaches its highest concentration in an object—a carrot carved from a solid block of birch.

How Spring Arrives
2023
Rice paper, tempera, pigment
96×125 cm

They are set against a series of vegetables on canvas, with their подчеркнутая материальность: here, form is asserted through repetition, density, and attention to texture. Vegetables and fruits cease to be part of everyday life and become independent, almost monumental images. This line reaches its highest concentration in an object—a carrot carved from a solid block of birch.

In it, two key gestures of the artist converge: a striving toward a simple, recognizable image and a rough, physical engagement with the material. Works depicting animals on rice paper appear deliberately blurred and hover on the edge of recognition, acting more as traces of presence than as representations. Birdhouses with animal "ears" extend this logic into space, existing at the boundary between function and image—as objects of care and hybrid forms in which the notion of home takes on living qualities.

Curator: Artur Knyazev

The Forest Boar and Last Year’s Acorns
2026
Rice paper, tempera, pigment
96×150 cm

In it, two key gestures of the artist converge: a striving toward a simple, recognizable image and a rough, physical engagement with the material. Works depicting animals on rice paper appear deliberately blurred and hover on the edge of recognition, acting more as traces of presence than as representations. Birdhouses with animal "ears" extend this logic into space, existing at the boundary between function and image—as objects of care and hybrid forms in which the notion of home takes on living qualities.

Curator: Artur Knyazev