Subconscious Construction

Kirill Muza (b. 1992, Dnipro, Ukraine) is a contemporary artist exploring the relationship between human emotions, the subconscious, and abstract forms.

His visual language was shaped by the environment in which he grew up. Monumental concrete architecture, industrial landscapes, and endless residential buildings in Dnipro left a lasting impression on his aesthetic perception. These early influences were later joined by punk culture and tattooing — worlds where individuality and freedom of expression have always taken precedence over established rules.

Beginning his tattooing career in 2014, Muza spent more than a decade developing his own artistic language. Alongside his tattoo practice, he experimented with abstract forms and textures, gradually moving beyond conventional artistic boundaries. Over time, the desire for complete creative freedom led him toward painting, where he could fully explore his own ideas without the need to adapt them to the expectations of others.

At the heart of his artistic practice lies the concept of Subconscious Construction.

Each work begins with an emotion — a feeling, a state of mind, or an inner experience that the artist seeks to give physical form. Through the intuitive interaction of volumes, textures, and geometric elements, he creates abstract structures that exist beyond conventional architectural and spatial logic.

These compositions resemble fragments of imagery emerging somewhere between the conscious and subconscious mind. Familiar forms lose their original purpose, coming together in unexpected, sometimes impossible structures. Their existence is guided not by engineering principles, but by emotional perception.

Concrete, with its weight, rough texture, and monumental presence, becomes the artist’s primary visual language. Yet the material itself is secondary. What matters is the interaction of forms through which an abstract construction acquires its emotional character.

Muza does not seek to literally depict happiness, fear, strength, or vulnerability. Instead, he constructs their own visual architecture — a space where emotions acquire volume, weight, and structure.

His works do not offer a single, definitive interpretation. What represents a particular emotion to the artist may evoke an entirely different association in the viewer.

This is art in which emotions become constructions, and the subconscious becomes the space in which they exist.