A horizontal line structures the compositions, dividing the surface into two fields. Warm earthy tones dominate the palette, accented by reds and blues. The surfaces remain textured and uneven — smoothed in places, elsewhere creased, marked by drips and irregularities.

The works hover between abstraction and landscape. The viewer recognizes what appears to be a landscape, yet it remains uncertain whether these are landscapes at all or purely abstract compositions. The image is perceived through the familiar language of classical painting, though nothing is explicitly depicted.

Rooted in the traditions of academic painting, the practice explores the relevance of the medium in a contemporary context. Earlier works are often revisited, fragmented, reconstructed, and layered anew, preserving traces of distortion and imperfection.

What first appears stable gradually dissolves into a minimal motif or atmosphere. Materiality recedes, giving way to a sense of emptiness, suspension, or trance.

This series consists of hand-cast, acrylic-coated plaster tiles. For Karev, the conveyor-like repetition involved in creating each piece becomes a means of approaching the limits and absoluteness of form. The tiles are recomposed at the artist’s discretion, while the space of the landscape remains unchanged, revealing the infinite potential of painting as a medium.

Created during the artist’s trip to Crete, these series of works continue the tradition of plein air studies. They reflect Karev’s ongoing engagement with observation, light, and the immediacy of the painted gesture.