STUDIOKinetic sculptor · artist · inventor
Some artists work with form, others with light. Movement has become my primary artistic material.
Beginnings
I grew up in my father's workshop. He made furniture, sabres and daggers, traditional souvenirs and model ships. I was always nearby, helping him and learning to understand materials with my hands.
As a child, I repaired toys for friends, took mechanisms apart to understand how they worked and wove chain mail from aluminium wire.
“My father used to say that there is a way out of every situation. Even if a shark swallows you, there are still at least two ways out.”
Education
I graduated with honours in Design from KazUTB College in Astana. From there, I chose to learn through practice. I never limit myself to a single material: when an idea calls for a new technology, I learn it through the process and find a solution.
Early Projects
Before kinetic art, I created sculptures of batyrs, original suits of armour and backpacks shaped as dragons, spiders and scorpions. The backpack project took me to the reality show Startup Bolashak. Later, together with Adlet Yeleussov, I worked on exhibits for a children's science museum that demonstrated the laws of physics, geometry and light.
My carriages were not props, but fully functional vehicles. They travelled through the city and were available for hire. The story of a Kazakhstani maker building fairytale carriages attracted international media attention.
Turning Point
After seeing large-scale works by a kinetic artist from abroad, I thought, “I can do that too.” I had no large workshop, only an unheated garage. I assembled the first mechanisms from whatever was at hand. Mistakes became discoveries and revealed how movement truly works.
I conceived and modelled my first finished sculpture in software. When I mounted two blades and they began to move, I simply watched them for half an hour. The movement was hypnotic. Once the full sculpture was assembled, I understood that I had found my life's work.
First Exhibition
My first two kinetic sculptures hung in the workshop for a long time. One day, I wrote to Forte Kulanshi Art Space. They replied quickly, invited me to meet and later organised a joint exhibition. It marked a turning point: audiences became interested in kinetic art and commercial commissions followed.
Archive
Osaka, Japan · 2025
For the Kazakhstan Pavilion, I created the kinetic installation Dastarkhan. Rotating wooden circles form the image of the Tree of Life and speak of hospitality, continuity between generations and dialogue between cultures.
Today
Today I create kinetic sculptures, light installations, interior objects and art furniture for private collections, public spaces and international projects. Every mechanism is developed for a specific artistic purpose. I am interested in the moment when the viewer can no longer tell where engineering ends and art begins.
Press and Features
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