"My idea of reality outside the windows is shaky and blurred. I look at the world through blinds, which are my protection and at the same time a limitation. Blinds hide the heavenly landscape and the light that penetrates inside. But at the same time they protect us from the elements, prying eyes and too much human will. Only the abandoned chairs preserve the feeling of the past and the image of the infinitely lonely presence of a man.
Series "Subtle plans. Figures and Air ”, which includes Hankevych's work “Garden House”, is a sensual phenomenon. The artist immerses the viewer in the subtlest of worlds through the "living landscapes" outside the windows of a dark room, and gives the opportunity to look at the outside world through the inner world. The viewer is captivated by the feeling of happiness woven from impressions and memories.

"My idea of reality outside the windows is shaky and blurred. I look at the world through blinds, which are my protection and at the same time a limitation. Blinds hide the heavenly landscape and the light that penetrates inside. But at the same time they protect us from the elements, prying eyes and too much human will. Only the abandoned chairs preserve the feeling of the past and the image of the infinitely lonely presence of a man.
Series "Subtle plans. Figures and Air ”, which includes Hankevych's work “Garden House”, is a sensual phenomenon. The artist immerses the viewer in the subtlest of worlds through the "living landscapes" outside the windows of a dark room, and gives the opportunity to look at the outside world through the inner world. The viewer is captivated by the feeling of happiness woven from impressions and memories.

"My idea of reality outside the windows is shaky and blurred. I look at the world through blinds, which are my protection and at the same time a limitation. Blinds hide the heavenly landscape and the light that penetrates inside. But at the same time they protect us from the elements, prying eyes and too much human will. Only the abandoned chairs preserve the feeling of the past and the image of the infinitely lonely presence of a man.
Series "Subtle plans. Figures and Air ”, which includes Hankevych's work “Garden House”, is a sensual phenomenon. The artist immerses the viewer in the subtlest of worlds through the "living landscapes" outside the windows of a dark room, and gives the opportunity to look at the outside world through the inner world. The viewer is captivated by the feeling of happiness woven from impressions and memories.

In a series of graphic works "Anatomy for…" Hankevich rethinks the world's personalities through the prism of stained glass, the same "pixeliness" that makes up the whole. "In my work I work with such concepts as general and specific. This is when one self-sufficient pixel is part of the overall picture from micro to macro world. ”

In a series of graphic works "Anatomy for…" Hankevich rethinks the world's personalities through the prism of stained glass, the same "pixeliness" that makes up the whole. "In my work I work with such concepts as general and specific. This is when one self-sufficient pixel is part of the overall picture from micro to macro world. ”

In a series of graphic works "Anatomy for…" Hankevich rethinks the world's personalities through the prism of stained glass, the same "pixeliness" that makes up the whole. "In my work I work with such concepts as general and specific. This is when one self-sufficient pixel is part of the overall picture from micro to macro world. ”

Cuba mosaic carpet belongs to Gankevych's series "Soviet Mandala". The Tibetan translation of the Sanskrit word "mandala" which literally means "the one which surrounds the center." The center carries meaning, and what surrounds it - the Mandala - is a symbol that expresses this meaning. In the 60's and 70's, the Soviet family with their fortunes comfortably surrounded themselves with carpets, insulating the thin Khrushchev and Brezhnev concrete walls.
Carpets were not left on the floor, as they once were in Byzantium, but hung over the bed like paintings, covering not very flat walls. "I can say that I spent the 70s and 80s, the happy years of my youth being cozy, "carpet-crystal atmosphere of a carefree Soviet childhood, lying under a huge carpet that absorbed my imagination with its abstract pattern," the artist recalls.

Cuba mosaic carpet belongs to Gankevych's series "Soviet Mandala". The Tibetan translation of the Sanskrit word "mandala" which literally means "the one which surrounds the center." The center carries meaning, and what surrounds it - the Mandala - is a symbol that expresses this meaning. In the 60's and 70's, the Soviet family with their fortunes comfortably surrounded themselves with carpets, insulating the thin Khrushchev and Brezhnev concrete walls.
Carpets were not left on the floor, as they once were in Byzantium, but hung over the bed like paintings, covering not very flat walls. "I can say that I spent the 70s and 80s, the happy years of my youth being cozy, "carpet-crystal atmosphere of a carefree Soviet childhood, lying under a huge carpet that absorbed my imagination with its abstract pattern," the artist recalls.

Cuba mosaic carpet belongs to Gankevych's series "Soviet Mandala". The Tibetan translation of the Sanskrit word "mandala" which literally means "the one which surrounds the center." The center carries meaning, and what surrounds it - the Mandala - is a symbol that expresses this meaning. In the 60's and 70's, the Soviet family with their fortunes comfortably surrounded themselves with carpets, insulating the thin Khrushchev and Brezhnev concrete walls.
Carpets were not left on the floor, as they once were in Byzantium, but hung over the bed like paintings, covering not very flat walls. "I can say that I spent the 70s and 80s, the happy years of my youth being cozy, "carpet-crystal atmosphere of a carefree Soviet childhood, lying under a huge carpet that absorbed my imagination with its abstract pattern," the artist recalls.

Anatoliy Hankevych believes that the purpose of art is to convey emotions. The artist, like a magician, manipulates what opens before the viewer. This manipulation causes the emotion of happiness.
There is a certain magic in Hankevych's "sea" works. Thanks to the unique technique of imitating the mosaic, the horizon of Odessa Arcadia seems to come to life in a pixel "shimmer", and the viewer is fascinated by the reflections on the surface of the water.

Anatoliy Hankevych believes that the purpose of art is to convey emotions. The artist, like a magician, manipulates what opens before the viewer. This manipulation causes the emotion of happiness.
There is a certain magic in Hankevych's "sea" works. Thanks to the unique technique of imitating the mosaic, the horizon of Odessa Arcadia seems to come to life in a pixel "shimmer", and the viewer is fascinated by the reflections on the surface of the water.

Anatoliy Hankevych believes that the purpose of art is to convey emotions. The artist, like a magician, manipulates what opens before the viewer. This manipulation causes the emotion of happiness.
There is a certain magic in Hankevych's "sea" works. Thanks to the unique technique of imitating the mosaic, the horizon of Odessa Arcadia seems to come to life in a pixel "shimmer", and the viewer is fascinated by the reflections on the surface of the water.

"Mosaic language is suitable for expression in images and color of all facets of this endless story like no other". In the series "Anatomy for…” the master resorted not just to the image in the imitation of the stained glass technique of portraits of familiar world personalities. 
It is the microcosm and the facets of every politician or writer. Only the viewer can solve the mystery of the painting: is it a universe in one person or do we see a mosaic / stained glass ensemble and such symbols on the face of the person due to the light "inside"?

"Mosaic language is suitable for expression in images and color of all facets of this endless story like no other". In the series "Anatomy for…” the master resorted not just to the image in the imitation of the stained glass technique of portraits of familiar world personalities. 
It is the microcosm and the facets of every politician or writer. Only the viewer can solve the mystery of the painting: is it a universe in one person or do we see a mosaic / stained glass ensemble and such symbols on the face of the person due to the light "inside"?

"Mosaic language is suitable for expression in images and color of all facets of this endless story like no other". In the series "Anatomy for…” the master resorted not just to the image in the imitation of the stained glass technique of portraits of familiar world personalities. 
It is the microcosm and the facets of every politician or writer. Only the viewer can solve the mystery of the painting: is it a universe in one person or do we see a mosaic / stained glass ensemble and such symbols on the face of the person due to the light "inside"?