Instagram @marinesmth_studio

I am a self-taught artist from Rostov-on-Don, also known as Russian Chicago. My formal education is in Psychology, and though I have never worked professionally in the field, it continues to fascinate me – our beautiful, struggling, erring brains, and how they interact.

Graduating from Russian Southern Federal University in 2007, I worked as an art journalist, copyrighter and editor until 2014, when I left this office job to dedicate myself to photography. I moved to the UK in 2017, where I continue to work and experiment, using an array of vintage cameras with their primitive intelligence, and ever-varying modern abstract techniques and technology.


Being late, being behind, not having enough time to keep up with changes, is a key collective feeling of the contemporary era, with its constant transformations. This feeling resonates deeply with me, while I strive to transform at my own pace.

My method is creative collaboration, where the results cannot be foreseen, turning the process of photographing into a process of cognition, a process of defining the boundaries that lie between us, and venturing beyond those boundaries.

When photographing portraits, I give my models space to show themselves, space for improvisation. Interaction is key. I don’t believe in a «Real Self», every one of us has lots of selves. The self we are at this moment now is the authentic self – one that will most likely be different tomorrow, different after every next person appears in front of us. I embrace the variations, improvisation, movement.

If I work digitally, I use vintage cameras with their primitive artificial intelligence, or artificial intelligence of neural networks. Even snapchat filters and beauty make-up cameras have their own little «brains» – I treat them like collaborators. I try to create new conditions for them, push their boundaries, give them space to show their new «selves».

I first came to photography because I felt that I have never had enough time to keep up with a moment, experience, place or even a person, and photography allows me to hold the moment and acquire it for myself. These two contrary aspects of my practice – possessiveness and sharing control – are essential to me.