Having shown interest in classical drawing and art in my final years of high school, I began auditing open courses and workshops held by the Department of Design and Architecture once enrolled in the university.

Gradually I became acquainted with rare writings on primitivism and naive art. My attention was particularly captured by patterns that I observed more and more frequently occur between transpersonal discoveries of the most remarkable authors in the course of ascetic practices, religious “staying-before-god”, or actionist performances. These discoveries emerged as a result of either neurogenic or deliberate refusal of the author to follow the industry standard/state requirements, less often - caused by desire to establish a deep, personal worldview and atypical symbolism; the latter ubiquitously present, regardless of the artistic movement/author’s personality/work’s creation period.

Through lists of modern visionaries who resorted to Stanislav Grof's DMT therapy, I learned about a narrow circle of art brut artists who received a new wave of followers at the expense of unnoticed pioneers of the 70s psychedelic revolution. I quickly grew weary of it, believing artificial psychotropic-induced experiences to be crude and repetitive in accordance with the nature of the used substance; not revealing, but only belittling the inner contrasts of the “volunteer-subject” with utter disregard to his educational and cultural level. After familiarizing myself with outsider and transgressive schools, whose air of controlled mystery quickly collapsed following a detailed acquaintance with biographies of their most prominent representatives, I turned to the conservative trends of late academicism and schismatic groups such as the New Secession. My main interest continued to revolve around author's ability to competently transmit the unique content of inner illumination into semantic syntax of conventionally understood visual form.

The chronicles of countercultural Russian artistic groups and performance artists of the 50s-60s were perceived as an antipode to the total drug-induced psychosis of the West and submerging into these gave me hope in existence of above-spiritual epiphanies on the individual level of poetic geniuses of the past, not without their own subtle mentality and the vivid flipside of mainstream art. Acquittance with Lianozovo school and Moscow underground literature circles of the aforementioned period inevitably led to discovery of the Yuzhinsky circle phenomenon, and its leading founder - Yuri Vitalyevich Mamleev.

Scientific activity
In 2015, after graduation, I passed my Ph.D. exams and enrolled in the Department of Russian and Foreign Literature. The direction of metaphysical realism as an original cultural phenomenon revealed its multifaceted uniqueness during my in-depth study of the heritage of the most memorable writer of the modern Russian avant-garde scene. This determined the primary vector of my art criticism and academic interest in the future.

[…]
Russian Language
Presumably, many of those who disdain Russian literature after the military campaign of 2022, especially in the circles of European right-wing political discourse, cultivate superiority of East Slavic language group and reject reading and understanding the avant-garde and philosophical experiments of 20-21st century. It is worthy to point out the decorative use of language in the majority of writings of that kind. Author deliberately aims to demonstrate the ambivalence and ideological volatility of the characters existing in a limited psychic field of contagious psychosis, in a dysfunctional alliance with vernacularity and crudeness of whose lives the unique chiastic neologisms emerge. The characters themselves barely realize how to use the language, reading the worst folk translations of the ancients’ obituaries instead of drinking songs. Understanding of such experiments is unfathomable without Russian wordsmithship, without its grotesque-satirical use it is impossible to derive a new moral formula, which would warn against the cultural impoverishment of the human mass, already crushed by the regime and having little understanding of what is happening in the world outside of their fundamental and impenetrable ignorance.

[…]
Counterculture organizations
First call to seriously reconsider the adequacy of the existing political regime happened during my first year of university - on the Day of Unity members of the Young Guard (pro-putin youth organization) tried to assess students’ civil alacrity to accept pseudohistorical views of the ruling party on the country’s history as an incontrovertible truth. Back then administrative prosecutions were not quite a thing yet, so you could laugh it of or cause a surge of disdain on the recruiters’ faces by throwing a solar-pointing gesture of the right hand. In the future this type of active denial became directly punished; persistent refusal to participate in similar quasi-patriotic events obstructed completion of regular summer fieldwork and closed paths to participation in a number of large-scale scientific programs.

At the time I actively submerged into literature focused on the activities of post-perestroika counterculture opposition units, while also mastering a variety of graphic and font designs of the right-wing organizations.

The Other Russia of the 2012-15 period seemed as an adequate counterpart to the academicism of the Eurasian movement, preserving the uniqueness of protests and civil action of the NBP times.

Exhibition of Radical Art
With support of the local political opposition in 2017, the Exhibition of Radical Art was successfully held. It was originally scheduled to happen at the Intourist Hotel, but the sudden refusal of the management due to unspoken “administrative reasons” to open it at the designated place despite extensive advertising in regional and state-wide media, forced us to move to the center of youth initiatives "SAM". Portraits of Roman Fedorovich Ungern which later passed into private collections and a separate symbolic interpretation of the figure of Limonov and his political activities were presented.
The Teurgia Streamica project, opened in early 2015, consisted of regular interactive lectures on military, historical, and avant-garde literature and cinema. Recordings of broadcasts to date are presented on the abandoned channel: www.youtube.com/c/daryashtrosherer. However, the intrusive interest of law enforcement in my public and educational activities, in particular in portraits of representatives of traditionalism and leaders of right thought (Goebbels, Evola) as well as lectures on the culture of Germany during the period of National Socialism and the "forbidden literature" found during the inspection, compelled me to consider emigration.

In 2018, thanks to paintings sale and voluntary financial support of listeners, I seized an opportunity to leave Russia.

Feedback and contacts
I have no further intention to resume any activity in the VK social network, which I ceased before leaving the Russian Federation, and the network is now completely controlled by propaganda and supervision agencies.

After my “traceless” disappearance, fake accounts were created, demanding material support and spreading false information. In order to prevent their activities in every possible way, I indicate the only page that previously belonged to me: vk.com/lezimveos

Currently sustaining my main income through the field of seasonal work — which in no way correlates with my prior format of intellectual work or fine art — has seriously impoverished my drawing as well as communication skills, which I decided to act against by resuming previous activity. I am considering options for cooperation in the field of traditional and digital graphics with the possibility of sending paintings (except for the Russian Federation) or writing articles on art and history.

I believe that policy of most social media is focused purely on cementing the algorithms for philistine demand while supporting the intrusive advertising from resellers, therefore I have no representation in them.