Sweep of a broom in dust
Oil on canvas, 100×100 cm
Sweep of a broom in dust,
on Siena’s ancient earth —
all traces vanish…
Maxim Ksuta
russian artist, contemporary art, sculpture, installation, photography
Category: Painting
September 8, 2025
August 22, 2025
“Yellow Sea”
“Yellow Sea”, Oil on canvas, 100 × 80 cm
The canvas unfolds as a space where light itself turns into living matter. Sweeping, wave-like strokes create a shimmering surface that evokes the sea filled with sunlight. Here, yellow and gold are not decorative, but the very substance of light stretched into infinity.
Against this luminous field, three black lines — boats — become strikingly clear. They appear both fragile and resolute, like shadows drifting into the distance. These boats transform the abstract expanse into a seascape: the sea gains dimension, and the light acquires a human scale.
The painting balances between abstraction and figuration. There is no conventional horizon, yet there is the feeling of a journey. The boats seem suspended in the golden swell — in boundlessness, where movement and stillness are one.
Yellow Sea resonates as a meditation on human presence within the elements: not confrontation, not fusion, but a subtle equilibrium. The sea and the light are no backdrop, but a space where the boat becomes a sign of the path unfolding through radiance.
August 22, 2025
“Wave in Black”
Oil on canvas, 70 x 90 cm, summa 140 x x180 cm
Wave in Black
Before us lies a work that appears at once monochrome and infinitely multicolored. Black paint — gas soot — has been laid flat on the canvas, without the slightest hint of relief. And yet, it is precisely within this flatness that optical depth emerges: lines and gestures of the brush, layered upon one another, form a fabric where light plays as if on water or silk.
The scale of the piece — 140 × 180 cm — makes it almost a wall, a membrane through which the viewer encounters the phenomenon of light itself. As the angle of vision shifts, the surface comes alive: the threads reflect light differently, transforming black into a space of continuous oscillations.
This is painting without color in the usual sense, yet full of a whole spectrum of states. There is no subject, no image to “hold on to”; instead, the viewer is confronted with the pure energy of perception. The work breathes like a wave — at times contracting into darkness, at times opening into a brilliance reminiscent of metal, glass, or the shimmer of a nocturnal sea.
This black optics is both an experiment and a meditation. It takes painting beyond the conventional role of carrying color and form, turning it into a field where vision travels, splits, lingers — and it is precisely this tension between the stillness of the surface and its shifting radiance that generates the true experience.
Ultimately, the work feels like a meditation on the nature of light and darkness: how black becomes luminous if one looks long enough; how simplicity proves more complex than illusion; how a surface devoid of depth suddenly reveals an abyss.
April 25, 2025
Quantum Project
The presented artwork is part of the series “Quantum Project,” which combines the artist’s meticulous technique and conceptual depth. The painting, created entirely with a No. 2 brush, draws inspiration from the intricate beauty of Roman micro-mosaics. Each brushstroke becomes a fragment of a greater whole, forming a cohesive image with a tactile, mosaic-like texture.
The artist has meticulously developed a custom palette, based on the principles of index color. This approach allows the artwork to achieve a harmonious balance of hues and a systematic structure, reminiscent of digital pixelation yet maintaining the organic essence of traditional painting. The deliberate selection and application of color transform each element into a symbol of precision, suggesting the interconnectivity of the micro and macro.
“Quantum Painting,” as a technique, bridges the worlds of science and art. The title “Quantum Project” encapsulates the conceptual underpinning of this series. Each painting reflects the complexity of quantum processes, where order and chaos coexist, and the smallest particles form the fabric of the universe. This innovative approach encourages viewers to delve into the relationship between structure, randomness, and perception.
The series invites contemplation of time and space, offering a meditative experience akin to observing the infinite detail in nature or the cosmos. It is a celebration of the intricate and the monumental, achieved through the smallest gestures of the brush, echoing the timeless traditions of ancient mosaic craftsmanship while pushing the boundaries of contemporary art.
February 6, 2025
New Exhibition at Wynwood Hotel
Lost in Transition: A New Exhibition at Wynwood Hotel
The *Lost in Transition* exhibition at Wynwood Hotel plays with the concept of a hotel as a place that bears witness to the inner transformation and emotional renewal of a traveler in a new city. Impressions are directly tied to heightened senses: the “other” awakens a gaze that keenly captures unusual details, sharpens hearing attuned to forgotten melodies. All these scattered images, accumulated chaotically throughout the day, intersect in the imagination and seep into dreams, blending with reality in the first moments after waking. The instant before memory reconstructs the events of the past day and threads them to the present is nearly imperceptible—yet it lingers, close to the sensation of being lost, to that fleeting moment of disorientation.
The works displayed throughout the hotel reflect artists’ experiences at specific moments of contemplative self-perception within their surroundings. Anatoly Akue’s *Harvest* series stems from his study of two esoteric systems—Western astrology and ancient Chinese BaZi—and their influence on human life. Over the course of a year, the artist analyzed life events, interpreted them through these mystical traditions, and translated the resulting insights and subjective understanding into semi-abstract compositions. Maxim Ksuta’s monochromatic landscapes from the *Tectonic Painting* series seem to emerge from a universal mystical rhythm, inviting the viewer to engage with it through the observation of light reflections. A similar effect is present in Andrey Berger’s work, where he paints with acrylic on a reflective road sign marked *100 m*, visible only at a specific angle of light. This piece, titled *Lost in Transition*, became the foundation for the exhibition’s concept, metaphorically referring to the hidden path of life, unseen by the casual glance.
Eva Helki’s objects and Misha Nikatin’s paintings operate like ironic riddles, assembled from everyday items. By revealing the poetry of the mundane, their imagery projects onto the viewer’s memories, rearranging itself like a deck of cards, unfolding anew in different minds.
Anka Akhalaya, in creating her abstract compositions, turns to the surrealist technique of automatic writing, capturing fleeting emotional states in her works. A different impression—one that leans toward permanence and the idea of eternal return—emerges in Olga Aksyonova’s pieces, where barely visible figures shimmer in golden light, bound by a mysterious shared encounter. At the intersection of reality and fiction, in the quiet blur of watercolor strokes, Arthur Samofalov seeks a point of stability in his *Inhabited Ruins* series. His indistinct forms become allegories of uncertain knowledge—chaos obscures the clear contours of objects, evoking unease.
The challenge for each of us is to overcome the desire for rigid clarity and instead embrace contemplation—an approach that fosters inner transformation and reveals a new vision of the world. Even the smallest journey shifts the rhythm of life, lifting the veil from our eyes and allowing for transition, for inner metamorphosis, and for the formation of a renewed dialogue with both the self and the world around us.
Alisa Prokhorova
December 20, 2024
Quantum Project
The presented artwork is part of the series “Quantum Project,” which combines the artist’s meticulous technique and conceptual depth. The painting, created entirely with a No. 2 brush, draws inspiration from the intricate beauty of Roman micro-mosaics. Each brushstroke becomes a fragment of a greater whole, forming a cohesive image with a tactile, mosaic-like texture.
The artist has meticulously developed a custom palette, based on the principles of index color. This approach allows the artwork to achieve a harmonious balance of hues and a systematic structure, reminiscent of digital pixelation yet maintaining the organic essence of traditional painting. The deliberate selection and application of color transform each element into a symbol of precision, suggesting the interconnectivity of the micro and macro.
“Quantum Painting,” as a technique, bridges the worlds of science and art. The title “Quantum Project” encapsulates the conceptual underpinning of this series. Each painting reflects the complexity of quantum processes, where order and chaos coexist, and the smallest particles form the fabric of the universe. This innovative approach encourages viewers to delve into the relationship between structure, randomness, and perception.
The series invites contemplation of time and space, offering a meditative experience akin to observing the infinite detail in nature or the cosmos. It is a celebration of the intricate and the monumental, achieved through the smallest gestures of the brush, echoing the timeless traditions of ancient mosaic craftsmanship while pushing the boundaries of contemporary art.
December 19, 2024
Architecture and Astronomy- “Archipelago of Utopias”
Architecture and Astronomy
At the exhibition “Archipelago of Utopias”, which can still be visited today and tomorrow at the KultProekt gallery, there is an intriguing example of architectural painting inspired by architectural installations. Maxim Ksuta’s painting “Orion Observatory” stands as an independent piece of art while simultaneously drawing connections to the work of one of the pioneers of land art—a name that seems relatively unknown in our country. Thanks to the artist for the detailed story about his source of inspiration and for creating a meditative painting that reconstructs architecture connected to the cosmos while convincingly conveying the essence of its materials and environment.
Maxim Ksuta:
“I created this piece under the influence of projects by Hannsjörg Voth—a renowned German artist and sculptor, born in 1940 in Baden-Baden. Voth gained fame for his monumental land art projects, which blend elements of architecture, sculpture, and symbolism. In his works, Voth seeks to bridge human culture with nature, often exploring themes of time, space, and the cosmos.
In the 1960s and 1970s, Voth actively investigated ways to integrate art into public spaces, creating installations that responded to questions about humanity’s place in the world and its interaction with the surrounding environment. However, his true fame came with projects located in remote and harsh settings, such as the deserts of Morocco, where he worked with natural materials like clay and sand.
One of Voth’s most famous projects is the “City of Orion” (1998–2003), located in the vast deserts of Morocco. In this work, Voth united his interests in astronomy, ancient cultures, and large-scale architectural forms. His aim was not merely to construct sculptural objects but to create structures that interact with nature and cosmic phenomena, such as the movement of stars. The City of Orion project reflects the Orion constellation through towers precisely positioned to mirror the stars’ placement in the sky.
City of Orion (1998–2003):
The seven primary stars of Orion—Rigel, Saiph, the three “belt stars” Mintaka, Alnitak, and Alnilam, as well as Bellatrix and Betelgeuse—are most prominently visible worldwide during winter months due to their location on the celestial equator. The concept of the project was to represent these seven stars on Earth with the same number of observation towers made from compacted clay. Each tower symbolizes one of the seven stars, and their arrangement within the complex (approximately 40 x 100 meters) corresponds to the constellation’s layout. The towers’ dimensions (ranging from 6 to 15 meters in height, width, and depth) reflect the stars’ brightness and size.
In the upper third of each tower, observation platforms were constructed, accessible via external staircases. Narrow openings in the towers’ walls, carefully calculated for their height, width, and orientation, allow for the observation of specific stars and constellations at certain times. The Orion Nebula (M42)—a star-forming region surrounded by vast clouds of gas—is represented in the complex by a fountain, marking the grouping of stars known as Orion’s “sword.” Seven smaller stars forming parts of Orion, such as its “head,” are also represented by additional compacted-earth towers.
The City of Orion was located in southeastern Morocco. Guided tours, lasting about 90 minutes at specific times, led visitors through all the towers, allowing them to observe the stars in sequence. While the seven large towers serve as astronomical structures illustrating the movement of specific celestial bodies through their positioning and orientation, the artist’s primary intent was to depict the Orion constellation in three dimensions as a large-scale sculpture on Earth.*
▪︎ Orion Observatory. Maxim Ksuta. Canvas, oil. 100 x 100 cm.
November 15, 2024
“Archipelago of Utopias” – New group exhibition
2024 “Archipelago of Utopias”, Kultproekt Gallery (CUBE), Moscow
Photo – Elena Rubunina
November 15, 2024
New group exhibition -“21days”
“21 days”, Gallery at Mosfilm National Museum of Art and Photography, Moscow
Photo – Olga Seregina
April 2, 2024
New group exhibition – “Summer plans”, Kovcheg gallery
Oil, hardboard, 2019
Maxim Ksuta 