I. Spatial Experiments (2024)

In Spatial Experiments, Yeva Kholopova investigates the architectural possibilities of light through a series of striking geometric abstractions. Elementary forms — squares, triangles, intersecting lines and planes — emerge from deep black backgrounds, illuminated in saturated shades of red, amber and orange.

Rooted in the visual principles of Suprematism and Constructivism, the collection reinterprets the geometric vocabulary of the early twentieth-century avant-garde through contemporary photographic experimentation. Rather than representing fixed, solid structures, Kholopova allows light to redefine their boundaries, creating an ambiguous visual space between two-dimensional composition and three-dimensional architecture.

Through carefully orchestrated contrasts of darkness and luminosity, the works explore tension, equilibrium and spatial perception. Geometry becomes fluid and seemingly weightless, transforming into an architecture constructed not from matter, but from light itself.

II. Light. Phantom Kinetics (2026)

Light. Phantom Kinetics explores the relationship between sculptural form, shadow and the illusion of movement. Working with carefully arranged geometric objects, curved wires, spheres and vertically stacked structures, Kholopova creates compositions in which static forms appear to acquire a dynamic, almost kinetic presence.

Directional illumination produces overlapping shadows, translucent repetitions and displaced silhouettes, transforming physical objects into complex visual constructions. The resulting images capture the suggestion of movement within absolute stillness, allowing a single photographic frame to contain multiple perceptions of form and duration.

Inspired by the experimental approaches of the Bauhaus and the sculptural investigations of Alexander Calder, the collection challenges the distinction between photography and sculpture. Light becomes an active creative force, extending and multiplying the original object to produce an ephemeral architecture of rhythm, balance and optical movement.

III. Nature: Artificial Botany (2022)

In Nature: Artificial Botany, Kholopova turns her attention to the organic world, exploring how artificial illumination can transform familiar botanical subjects into unexpected visual abstractions.

Flowers, stems and delicate branching structures are photographed against atmospheric fields of violet, magenta, green and warm amber light. Through intense backlighting and carefully controlled contrasts, petals become translucent surfaces, stems transform into graphic silhouettes, and natural forms begin to resemble sculptural constructions, constellations and intricate geometric patterns.

Drawing upon the tradition of experimental botanical photography, the collection moves beyond conventional representations of nature. Rather than documenting plants as they appear, Kholopova reconstructs their visual identity through colour, light and composition.

The result is a contemporary botanical study in which the boundaries between the organic and the artificial, the natural and the abstract, become increasingly fluid. Nature emerges not simply as a subject of observation, but as an extraordinary source of architectural form and visual experimentation.