Triumph of Galatea (detail)
Raphael
This portion (1511–12) shows Galatea, the sea nymph of Greek myth, riding a dolphin-drawn shell chariot. Around her, tritons and nereids embody the vibrant energy of the sea. Raphael’s design celebrates Galatea’s beauty and grace, while capturing the joyful movement of the marine procession.
Apollo and Daphne with The Apotheosis of Romulus
Gian Lorenzo Bernini, Mariano Rossi
Bernini’s sculpture (1622–25) captures the climactic moment in Ovid’s Metamorphoses when the nymph Daphne, fleeing Apollo’s desire, transforms into a laurel tree. Above, Rossi’s Apotheosis of Romulus celebrates Rome’s divine origins. Romulus ascends, clutching Roma—helmeted symbol of the eternal city—while Fame, winged and bearing a trumpet, heralds his glory with laurel crowns. Together, sculpture and fresco exalt mythic transformation and Rome’s enduring legacy.
Tomb of Archbishop Scherlatti
Nino Pisano
This marble relief (c. 1300–1350) formed part of the tomb of Archbishop Scherlatti. Christ is depicted in the Imago Pietatis pose, rising from the tomb with eyes closed, flanked by two mourning angels. The scene blends devotional tenderness with refined Gothic elegance, exemplifying Nino Pisano’s lyrical style and the growing emotional realism in 14th-c. funerary art.
Archangel Michael
Raffaello da Montelupo
This marble statue (1544) once crowned the fortress, showing the Archangel Michael in the moment of sheathing his sword after ending the plague of 590. The figure’s contrapposto stance and idealized anatomy recall classical sculpture, while the raised wings and military dress assert his role as heavenly protector. The blend of antique form and Christian subject turns a local miracle into a civic symbol of deliverance.
Loyalty from Los Disparates Series
Francisco Goya
This etching (1815–1823) by Francisco Goya, part of the Los Disparates series, explores themes of chaos and irrationality. Featuring grotesque figures, it suggests blind loyalty or foolishness, reflecting the turbulent era of Ferdinand VII’s reign in Spain. Goya’s use of aquatint and etching techniques enhances dramatic contrasts and textures, providing a dark commentary on the social and political upheavals of his time.
Apollo and Daphne (detail)
Gian Lorenzo Bernini
In this electrifying detail from Apollo and Daphne (1622–25), Daphne’s transformation peaks: her fingers stretch skyward as they fracture into laurel branches. Bernini’s carving achieves an uncanny fluidity—Apollo’s embrace contrasts her fleeing limbs, while bark and hair blur into motion, embodying divine metamorphosis and tragic escape.
Pietà
Michelangelo
This marble sculpture (1498–99) shows the Virgin Mary holding the body of Christ after the Crucifixion. Carved by Michelangelo at age twenty-four, it unites idealized form and anatomical accuracy with restrained pathos. Commissioned for St. Peter’s Basilica, the Pietà exemplifies High Renaissance harmony between human beauty and divine suffering.
Lenin
Diego Rivera
This mural fragment (1934) shows Vladimir Lenin at the center, joining the hands of workers of different races in a dense crowd. The scene comes from Rivera’s Man at the Crossroads mural destroyed at Rockefeller Center, whose inclusion of Lenin provoked its removal. By recreating the composition at the Palacio de Bellas Artes, Rivera reaffirmed his Marxist political stance.
Apollo and Daphne
Bernini
Seen from behind, Bernini’s Apollo and Daphne (1622–25) reveals the spiraling tension of flight and pursuit. Daphne’s transformation accelerates—branches burst from her hair as Apollo strains forward, barely grounded. This angle heightens the illusion of motion, capturing the myth’s fleeting climax with lyrical virtuosity.
The Holy Family with Sts. Francis, Anthony, Magdalene, John and Elizabeth
Bonifazio Veronese
This oil on canvas (1525–27) shows the Holy Family seated outdoors, with Mary offering fruit to the Christ Child held by Joseph. At their side stand the young Saint John the Baptist and the Archangel Raphael guiding Tobias, who carries a fish. The combination of figures from different episodes may connect to Renaissance interest in linking domestic piety with protective intercession.
Apollo and Daphne
Bernini
This electrifying marble group (1622–25) freezes the climax of Ovid’s tale as Daphne begins to turn into a laurel tree to escape Apollo’s grasp. Her fingers sprout leaves, her torso hardens into bark. Bernini renders transformation with astonishing fluidity, embodying Baroque ideals of movement, emotion, and divine drama.
The Appearance of Christ to the Disciples
Master of Cabestany
This 12th-c. Romanesque sculpture by the Master of Cabestany depicts Christ revealing himself to his disciples after the resurrection. The artist is known for figures with large heads, flat foreheads, long noses, and almond-shaped eyes. Likely from the monastery of Sant Pere de Rodes, the work exemplifies the Master of Cabestany’s influence across Southern Europe, from Tuscany to Navarre.
The Comedy, Parody, and Tragedy
Rodel Tapaya
This 2018 painting layers crowded shanties, billboards, and tangled walkways with mythic creatures from Philippine folklore. Human figures mingle with spirits and masked characters, blurring everyday life with the supernatural. Bright colors and abrupt shifts in scale evoke noise, congestion, and spectacle. Tapaya unfolds contemporary urban experience as a chaotic folk tale, where comedy, parody, and tragedy coexist in a single scene.
Earth (Mother Earth)
Einar Jónsson
Einar Jónsson’s sculpture (1904–1908) portrays a monumental figure cradling a smaller, draped form symbolizing Earth. Blending allegory and myth, it reflects Icelandic spirituality and cultural narratives. The work embodies humanity’s protective yet dependent bond with nature, inviting reflection on cosmic order and the fragility of existence.
Andean Baroque Ceiling Panel
Manuel Chili (Capiscara)
This carved and gilded ceiling panel (1770–80) shows radiant faces, golden beams, and floral motifs arranged around a central sunburst. Produced in late-colonial Quito, it aligns with the Andean baroque’s celestial imagery. Caspicara joined Catholic cosmology with Indigenous conceptions of ordered, sacred geometry.
“When the path is beautiful, do not ask where it leads.” — Zen proverb
Welcome to my travel photography!
“When the path is beautiful, do not ask where it leads.” — Zen proverb
Welcome to my travel photography!
For as long as I can remember, my path has been one of discovery—seeking beauty, timelessness, and connection in every corner of the world. It has also been a journey of deep learning and understanding. I’ve been an avid traveler (or perhaps a travel addict?) for most of my life. My love for travel began long before I ever left home: as a child, I drew a fantasy map of my grandparents’ apartment and “traveled” through it with my cousin Sonya, imagining adventures in every corner. Nearly 90 countries and countless moments of awe later, I’m excited to share this journey with you.
Thanks to the tireless and ingenious programming of Diagilev, we’re now able to present about fifteen percent of the images I’ve accumulated over the years. More will be released in small batches depending on your interest. While the first release leans toward museum photography, later ones will include more nature, architecture, culture, and general travel experiences. If you’d like to receive email notifications about new releases, feel free to reach out—no commercial use, ever.
Throughout my travels, I’ve been drawn to two intertwined kinds of discovery. One is intellectual: learning why the world is the way it is. History became my guide, shaping my perspective and filling my camera roll with museums and old buildings. To me, history is not the past—it is the key to understanding the present and how the world became what it is. The other is emotional: seeking moments of elevation—spirituality, beauty, harmony—often found in nature, monasteries, and ancient sacred spaces. Together, these impulses shape my photography. It invites you to learn, admire, and soar—to rise above the mundane and see the world through a lens of curiosity and wonder.
Much of my later travel became possible thanks to my job with Delta Air Lines, but the wanderlust began years earlier. By the time I joined the industry, I had already visited over 35 countries and lived in several—largely thanks to a backpacking journey around the world with Luis León, whose face appears in many early photos. I grew up in Ufa in the USSR, and since leaving it I have lived, studied, and worked in Latvia, the United States, France, South Korea, Canada, Spain, Italy, Brazil, Japan, and Colombia.
A life of near-constant movement may seem a little crazy, but it has deepened my understanding of the world and produced the photography you are about to see. Over the years, my style has evolved—more intentional, more refined—yet its core remains the same: a search for understanding, timeless beauty, and a connection to those who walked this earth long before us.
I hope these photos stir something in your soul, just as they did in mine. I’d love to hear from you—whether reactions, suggestions, corrections, or a request to be added to the email list for new releases (no commercial use, I promise). You can learn more about my travels here, and my academic life here.
Enjoy our shared journey!