Painting today is an almost utopian gesture, but that is why it is interesting. By using such an outdated medium in my work, I put myself in a knowingly vulnerable position, which allows me to experience the creation of a work of art deeper. In addition, with the help of such a "historically outdated" language, it is much easier to go beyond the postmodern irony and seriously talk about the topics that concern me. So, in the painting series "Akhmat", using the example of my childhood memories, I explore the phenomenon of the flexibility of the past, the nonlinearity of memory, as well as the process of distortions that human consciousness undergoes over time.