Tsvelyy Soup
Group Exhibitions
2026
Digital Relics of Innocence — Guangzhou, China
«я» в интернете / “i” in the internet — Moscow, Russia
New Mayurpankh Tradition — Mumbai, India
2025
The Wrong Biennale “Avatar Reveal” — Moscow, Russia
neutral natural — Guangzhou, China
web cuteness — Moscow, Russia
ЖИР — Moscow, Russia
cute/acc — Moscow, Russia
2023
The Stairs of the Impossible — Germany
tsvelyy soup personal exhibition — Mariyasha’s Cabin (catabasis.ilysm), Australia
2026
Digital Relics of Innocence — Guangzhou, China
«я» в интернете / “i” in the internet — Moscow, Russia
New Mayurpankh Tradition — Mumbai, India
2025
The Wrong Biennale “Avatar Reveal” — Moscow, Russia
neutral natural — Guangzhou, China
web cuteness — Moscow, Russia
ЖИР — Moscow, Russia
cute/acc — Moscow, Russia
2023
The Stairs of the Impossible — Germany
tsvelyy soup personal exhibition — Mariyasha’s Cabin (catabasis.ilysm), Australia
Gleb: How would you describe your artistic style?
Tsvelyy Soup: I would describe my style as a chthonic reminiscence of a 2000s childhood from the early internet era, ironically mixed with the pop culture of the 2020s. I am also drawn to the themes of “отстранение” (defamiliarization) and “двоемирие” (dual-worldness / two-worldness) — they feel very consistently connected to my work.
Gleb: What do you mean? Could you please explain in details?
Tsvelyy Soup: A kind of digital orangery wrapped in symbolism? A sort of “artificial paradise” in the tradition of Western Decadence at the turn of the 19th and 20th centuries. The artificial garden-orangery as an autonomous sacred enclosure. Through digital relics, doll-like figures, and the fusion of organic forms with religious symbolism, I actualize the Decadent poetics of a closed world. Early Soviet Formalism allows us to see in this not nostalgia, but precise work with the artistic device: the defamiliarization of the everyday and the construction of a self-sufficient artistic reality.
Gleb: Could you please describe this artistic reality?
Tsvelyy Soup: I was lucky enough to witness the old internet with my own eyes. It is incredible to watch trends return decades later — once again everyone loves low-quality images covered in glitter and huge anime eyes… In terms of narrative and style I actually prefer anime from the 1970s–1990s more than the early 2000s, when those oversized eyes became fashionable. In my head there is always a large layer of Decadent literature and early 20th-century literature in general, Victorian and medieval motifs, Gothic elements, interesting auteur cinema, and good music in my ears.
Gothic and Lolita fashion (which I also wear myself), as well as alternative fashion in general, have had a considerable influence on my style. I really love unusual and interesting outfits! Unfortunately I can’t sew, but I make jewelry.
Tsvelyy Soup: I would describe my style as a chthonic reminiscence of a 2000s childhood from the early internet era, ironically mixed with the pop culture of the 2020s. I am also drawn to the themes of “отстранение” (defamiliarization) and “двоемирие” (dual-worldness / two-worldness) — they feel very consistently connected to my work.
Gleb: What do you mean? Could you please explain in details?
Tsvelyy Soup: A kind of digital orangery wrapped in symbolism? A sort of “artificial paradise” in the tradition of Western Decadence at the turn of the 19th and 20th centuries. The artificial garden-orangery as an autonomous sacred enclosure. Through digital relics, doll-like figures, and the fusion of organic forms with religious symbolism, I actualize the Decadent poetics of a closed world. Early Soviet Formalism allows us to see in this not nostalgia, but precise work with the artistic device: the defamiliarization of the everyday and the construction of a self-sufficient artistic reality.
Gleb: Could you please describe this artistic reality?
Tsvelyy Soup: I was lucky enough to witness the old internet with my own eyes. It is incredible to watch trends return decades later — once again everyone loves low-quality images covered in glitter and huge anime eyes… In terms of narrative and style I actually prefer anime from the 1970s–1990s more than the early 2000s, when those oversized eyes became fashionable. In my head there is always a large layer of Decadent literature and early 20th-century literature in general, Victorian and medieval motifs, Gothic elements, interesting auteur cinema, and good music in my ears.
Gothic and Lolita fashion (which I also wear myself), as well as alternative fashion in general, have had a considerable influence on my style. I really love unusual and interesting outfits! Unfortunately I can’t sew, but I make jewelry.
Selected works
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