Passenger on a Time journey

Discovering exuberance in strong affection for the world beyond boundaries

Creative autonomy

The source of imagination was coming from the New World, which was gradually rising


Painter's Credo

 There wasn’t much left, but Utopian-ism to which, the artist has been entirety faithful until today


Time Traveling from Surreal times to Mixed Media Paintings…

A treatise on the Ordinary Man – Part II.

Rubins first series of artworks, reaches far back in time, living only as a blurred memory. A space of incomprehensible fears, brave ideas followed by idealism, frequently blocked by a society that feeds on totalitarianism. Rubins spent his childhood in a Utopian system of the Slavic communist regime, that after decades of totalitarianism did not survive the spirit of time. Latently isolated from the possibility of a mind-expansion process, which would result in the personal development, he lived each day, as it offered by itself. Soon he discovered his first great liberation, a strong affection for the worlds on the other side, beyond the boundaries of known and safe.

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The source of imagination was coming from a New World, which was gradually rising. Living between two different ideologies, he was recognizing the strengths and weaknesses of both regimes. Slavic communist regime was bloody red and the West was a kind of rainbow. The numbed comfortably of life, on the western borders, was continuous risk, insecurity and tension. The ideology of a totalitarian regime has permanently marked his character to a large extent. Despite the creative enthusiasm, he has suffered – as a featured individualist in collective, mass hysteria values. He was incomprehensible – as a Utopian, nurturing thoughts on, not yet discovered horizons. He was melancholic and depressed – with the idea of otherness marked on his forehead. In the masochistic pose, bowing down to mighty leaders, whose false creation was adored, while at the same time, they nurtured an obscure general cynicism.

Through pictures in mixed media, he was gradually constructing his courageous quest.  Living in the “Go West” syndrome for twenty-five years, he has been experiencing all the triviality of that period, directly and forcefully. There was a necessity to decide between love and hatred, desire and envy. The ambitions of the Slavic communist regimes eventually began to collapse and fall to fragments. Through the all-prevailing chaos of values and nonsense of everything, that had been done and believed into, until then, the ideologies and their  leaders once again amended to bitter memories. Only ideologically renewed, the masses took refuge at the nearest solution, whose offer was illusory in the prosaic content of new security. Rubins nation found their shelter among them, who they despised in the past, so conceitedly. There wasn’t much left, but Utopian-ism to which, the artist has been entirety faithful, until today.

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