"Expressive body movement is one of the most harmonious ways to give shape to the unconscious".

Carl Gustav Jung


"Movement, as the most subtle instrument of expression, is capable of approaching the understanding of the human soul".

Boris Eifman

Maxim was born in Leningrad (St. Petersburg) in a family of creative intellectuals.

His talent for visual arts emerged in early childhood when he started sculpting horses and riders out of plasticine. It was a favourite pastime for Maxim, who could spend hours engrossed in it without being distracted by anything else.

The environment in which the artist grew up was truly creative. His mother worked in the theatre and his father was an architect. Maxim's childhood and youth were spent behind the scenes of the theatre among actors, directors, and artists. He often travelled with the theatre on tour, observing the work of many talented people, getting to know new cities and their theatres.

His passion for sculpting evolved into a true love for sculpture during his years of study at an art school. At this time, his plasticine and drawing characters became the heroes of his favourite writers - musketeers, knights templar, pirates, and Indians... and of course horses.

As he grew older, he started to draw a lot of imaginative, multi-figure compositions that featured rhythmic battle scenes, various historical themes, and he also explored different styles and techniques in painting and graphics. He was most passionate about drawing objects in motion using his imagination.

After serving in the army, Maxim returned to St. Petersburg and enrolled in the famous A.L. Stieglitz Academy, where he studied under renowned artist D.A. Shuvalov, anatomical artist R.P. Kurilyak, a student of Gottfried Bammes, and famous architect V.D. Kirhoglani.

In 1994-1995, he independently studied ancient art, Baroque architecture, and painting in Rome. After graduating from the academy, Maxim began his professional career as an architect. He became the chief architect of a well-known architectural workshop, leading author projects. During his work, dozens of projects for the reconstruction and construction of civil and industrial buildings, private homes, and public interiors were completed.

However, his connection with the theatre never stopped, nor did his desire to create images in motion. In 2010, the artist received permission from the director of the Mariinsky Ballet Company, Yu.V. Fateev, to draw in the theatre's ballet classes. This opened up his understanding of the power of movement and beauty in ballet. It was then, despite his successful career as an architect, that he decided to devote his main time to artistic creativity, drawing ballet and other exciting themes.

In 2017, the artist began collaborating with the Habsoe gallery, the Central Jutland Art Center in Denmark. The artist's ballet theme was presented in the gallery's permanent exhibition. The artist participated in seven gallery exhibitions. From December 2019 to March 2020, the artist held a solo exhibition in the gallery's "special black space."

Since 2005, Maxim has been a member of the St. Petersburg Union of Artists.

Since 2022, the artist has been a lecturer in the Department of Academic Drawing at the Stieglitz Academy of Art and Design in St. Petersburg.



Movement, its energy and life force in various forms and objects in the surrounding world, inspires and motivates me to create. I am passionate about creating images in motion and searching for moments when they exhibit a special beauty of spatial and emotional connections, lines, and forms in complex conjugations or collisions. In my creative work, I create such moments and convey thoughts and emotions through the depiction of movement in action. I find them in the dance of a ballerina, the sprint of a cheetah, the gallop of a horse, or in the dynamic clashes of athletes...

I live and work in a city where the great art of Russian ballet was created. I have the opportunity to observe ballet classes and rehearsal processes in the ballet studios and on the stages of the most famous theaters in St. Petersburg. This gives me the necessary knowledge and understanding of ballet to create my own choreographic compositions on paper and canvas. I instinctively feel the physiology and psychology of movement in ballet, its lines of growth, apex, or decline. The language of movement in ballet, body mechanics, give me a wide range of forms and symbols to convey the most diverse feelings and experiences in my art.

I love horses, and I have been sculpting and drawing them since childhood. The sport of polo has become the most fascinating for me. I enjoy working on swift and energetic compositions where a person and a horse merge into a single entity, into one whole. I also love to draw other sports such as hockey, American football, and rugby.

My abilities and knowledge of human and animal anatomy give me the freedom to create compositions from imagination and not depend on nature. All images and compositions initially appear in my imagination and depend on the thoughts and experiences that I have, as well as the events happening around me. I can see the entire composition in my imagination or just a fragment, and my creative process begins with sketches of the objects seen in my mind's eye. In these sketches, I search for the most expressive lines of movement and angles, the three-dimensional spatial position of the composition, and anatomical and structural details. Of course, in working on the actual painting, much can change because the painting begins to live its own life before it is finished, and may require changes and unexpected solutions that were not in the sketches.

I prefer a realistic representation of the world, and my paintings have a representational form. When I work with oil paint, I try to get closer to completion in the first layer, leaving small details for the second layer. I apply oil paint pastos, then model the form, creating a smoother surface and leaving the brushstroke where I see the need for it. However, the technique can vary.

For me, composition is important in a painting, as well as the arrangement of objects in space, rhythmic structure, linearity with an analysis of proportions in synthesis with picturesqueness, and meaningful and emotional elements.