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VITALY is an artist working at the intersection of metaphysics and everyday life.
rough a radical reimagining of common materials, he explores manifestations of the
supernatural within contemporary realities. His artistic strategy is grounded in the
deliberate defamiliarization of familiar objects: tape, Coca-Cola bottles, cardboard, and
track pants are transformed, transcending the boundaries of their banal, everyday
functions. In these new guises, such items acquire the qualities logic lies the idea of the
migration of the sacred beyond its traditional domains. Religious ecstasy dissolves into
the environment of oces and domestic spaces, ritualistic practices reveal themselves in
the gestures and micro-movements of the everyday. In his works, much takes place
beyond clear-cut boundaries between life and death, the human and the post-human:
the familiar visual landscape of the city and daily routine shimmers with sparks of the
otherworldly, creating a lingering sense of a prolonged "here and now," where any object
may become a focal point of the mystical.
e year 2025 marks an important turn in the artist's practice. Returning to painting,
Bezpalov expands his spectrum of cultural references, beginning to engage with the
language of Pop Art and exploring the mythology of mass culture. His project EVIL
VITALY at Moscow's Gaellary Gaellary stands as a landmark in this phase: in addition
to paintings and sound works, the exhibition featured-for the rst time-a sculptural
object depicting the corpse of Andy Warhol, simultaneously as an icon and "victim" of
Pop Art. is gesture underlines the duality of mass culture, the fetishization of myths,
and their dissolution.
As a co-organizer of TZVETNIK and the Spas Setun gallery, VITALY plays an active
role in shaping the contemporary exhibition discourse. His projects have been exhibited
across Russia, Europe, and the USA, while his teaching work (at the British Higher
School of Art and Design and TSCA) forms a vital link between artistic research and
educational practice.
VITALY's works are always an attempt to probe the boundary between the
familiar and the inexplicable, to nd a way in which the most ordinary thing becomes a
bearer of metaphysical meaning, and the material world is revealed as a stage for the
spiritual and cultural transformations of the present.
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