Goliadkin

Oil and watercolor artist
welcome to my online porfolio

DISPLACED PORTRAITS (2026)

This is a pictorial project composed of three or four oil paintings that explore the representation of portraiture through domestic objects. Instead of constructing a frontal and stable portrait in its classical form, the works focus on the image that objects project of us: bodies that are deformed and fragmented through everyday items such as a tap, a coffee maker, or a device screen.

The works aim to challenge the academic tradition of portraiture and still life by placing the human figure in the background, mediated by everyday devices that act as optical instruments. These glass or metallic surfaces generate unstable perspectives that also question the academic representation of the body.

STATEMENT

As a painter, I have always been interested in portraiture as a frontal structure and in the relationship it entails: someone looks, and someone is looked at. However, in our daily lives, we rarely see ourselves directly. Through objects with surfaces different from mirrors, we are returned curved, partial, and unstable images.

At home, I constantly encounter these small devices: the shine of a tap, a pot, the curvature of a coffee maker, the black screen of a mobile phone. In them, I appear, but never in a complete way. I am a displaced presence, observed by an object.

In this project, I do not paint the object as the protagonist—although at first glance it may seem so—but rather the altered image it returns. There is a dichotomy between object–subject, between still life–portrait, between presence–absence. There is something unsettling in feeling that objects observe us, that they register our presence and transform it.

I return to still life from another perspective, seeking its projection and instability. Reflection, therefore, is not a faithful copy, but can be understood as another possible reality.

ALONe - ALONg (2025)

Crowded bar, 2025

oil painging - ALONe - ALONg project:

Being alone vs. being in company is the dichotomy explored in this project under the title ALONe ALONg.
This series of oil paintings aims to reflect on what a person is like in the depths of solitude, in contrast to how one behaves in society. Sometimes company makes us better, but sometimes it disturbs, discomforts, and can even nullify us. There are moments when we are alone because we are isolated, and others when we are alone because we are too exposed to others.
This dichotomy is set in nighttime environments (bars, streets, trains, concert halls), all of them nearly devoid of natural light.

The project contrasts works where solitude is present, not only through physical isolation, but also through being surrounded by crowds.

As inherently social beings, we need others to feel part of a group, but the moments when we are truly ourselves often occur in situations where we look in the mirror, find ourselves alone in a train carriage, or order takeaway food—those moments when solitude is, in some way, experienced.
The aim is to question and provoke reflection on the night, what happens in it, company, and withdrawal. Moments of ecstasy that ultimately lead to introspection and personal reflection.

Franz, 2020

I have anxiously suffered with Kafka's work during my University years.

Then, I see that any proceeding can be as hard and tedious as Franz described. This is my humble tribute. Feeling more and more confortable with water.