The Sergej Glinkov’s work mostly consists of oil painting, but also includes drawing, watercolor and collage. His most recent works are the result of an artistic journey embarked upon in Kiev, the city of his birth, and continued in Venice, the city that adopted him: two Orients that have profoundly marked his pictorial language, which in the fundamental quality of its own formal and chromatic syntax recalls the canon of Byzantine iconographic tradition. One of the central themes is the human figure interpreted as matter that is physically embodied through time. This is, for him, the essence of the painterly act. In fact, he interprets the surface of the canvas or sheet of paper as “body” and “duration”, as an organism that is transformed to the point of crystallizing its hybrid nature in a precarious balance between background and foreground, vibrating with reciprocal transmutation. In this sense the spatial quality of Glinkov’s work is both figurative and anti-figural.