Costa Gorelov

Costa Gorelov was born in Moscow in 1993 and continues to live and work in Moscow. He studied at the Moscow Institute of Television and Radio Broadcasting, graduating in Film Directing (Cinema). In his work Costa explores people’s emotional and psychological states, often depicting them through the interactions of a figure with different spaces, objects and fashion items. Fashion, in particular, is paramount to his self-expression. It is also a symbol linking epochs, times, and traditions.

Gorelov grew up in the tradition of the North German Renaissance. German music, literature, painting, culture, and language have greatly influenced him, and played a key role in the formation of his style. The basic principles he uses when creating his paintings are those of the Baroque, the Renaissance, and interior design. Architecture plays a primary role in his art, in particular its basis upon stone and the golden ratio. Gorelov strives to incorporate elements of Gothic and Baroque architecture into the everyday life of his characters through handbags and accessories that carry the DNA of this architectural heritage. He wants to show that despite changes in trends and different eras, the fundamental things are unshakable and unchanging.

Costa Gorel

Black Friday, 2021

Óleo sobre lienzo (díptico)

240 x 260cm

Interview

What inspires you when creating? I’m always inspired by something new. I can be inspired by something that I might not have been paying attention to yesterday and it's always unpredictable for me. Constant inspiration is always architecture, music, literature, art, humor, interior design, fashion, and of course, my everyday bible is Virginia Wolf.

What are you working on recently? Now I’m working on the project for Dr. Robot Gallery, on a series of big format paintings. One of them is 3 x 4 meters high and is dedicated to Moscow’s subway. I’m going to create here a special tension between characters and space.

Tell us about your creative process. I can plan painting for a long time and I can make a lot of sketches but end up with something completely different on the painting. I always try to create my own, world my own stories using videos or something else, but painting is the only point where I feel I belong and it’s the main foundation of my life. I’m very happy and beyond joy when I’m painting.

Costa Gorel

Danube, 2020

Oleo sobre lienzo (díptico)

100 x 82cm

Are you participating for the first time in the fair? What do you expect from Art Madrid? I expect to enjoy the fair, to get to know new names new works and my work to become more recognizable. And of course, you always expect sunshine and warmth from Madrid.

You grew up surrounded by the tradition of North German renaissance culture. How can we see this influence in your work? This influence can be traced back to the fact that I always use graphics in my paintings and that I have always been inspired by Albrecht Dürer, Lucas Cranach, Gustav Klimt, and so many others. I always tried to convey an extremely personal sense of understanding of the world with its duality, changeability and complexity. It’s very typical and important to me to connect the fashion and interior items with the characters and compositions. Yes, my characters are romantic

Fashion and nudity are two elements very present in your work, are both the mirror to explore people's feelings and expression in your process? I use nudity as a symbol, as a device to show the vulnerability and certain fabulousness and at the same time the strangeness of characters. Fashion is the constant concrete of history like stone with which modernity is linked to primitive times. My characters are hiding behind fashion and architecture because they want to protect themselves. In this way, I’m trying to express human feelings like insecurity, melancholy, and joy.

Costa Gorel

Personal Icon, 2021

Oil on canvas

40 x 50cm

Costa Gorelov participates in Art Madrid with Dr. Robot Gallery, along together with Katya Sheglova y Vova Perkin.

The circle as critical device and the marker as contemporary catalyst

POSCA, the Japanese brand of water-based paint markers, has established itself since the 1980s as a central instrument within contemporary artistic practices associated with urban art, illustration, graphic design, and interdisciplinary experimentation. Its opaque, highly pigmented, fast-drying formula—compatible with surfaces as diverse as paper, wood, metal, glass, and textiles—has enabled a technical expansion that extends beyond the traditional studio, engaging public space, objects, and installation practices alike.

In this context, POSCA operates as more than a working tool; it functions as a material infrastructure for contemporary creation. It is a technical device that enables immediacy of gesture without sacrificing chromatic density or formal precision. Its versatility has contributed to the democratization of languages historically associated with painting, fostering a more horizontal circulation between professional and amateur practices.

This expanded dimension of the medium finds a particularly compelling conceptual framework in The Rolling Collection, a traveling exhibition curated by ADDA Gallery. The project proposes a collective investigation of the circular format, understood not merely as a formal container but as a symbolic structure and a field of spatial tension.

Historically, the circle has operated as a figure of totality, continuity, and return. Within the framework of The Rolling Collection, the circular format shifts away from its classical symbolic charge toward an experimental dimension, becoming a support that challenges the hegemonic rectangular frontality of the Western pictorial tradition. The absence of angles demands a reconsideration of composition, balance, and directional flow.

Rather than functioning as a simple formal constraint, this condition generates a specific economy of visual decisions. The curved edge intensifies the relationship between center and periphery, dissolves internal hierarchies, and activates both centrifugal and centripetal dynamics. The resulting body of work interrogates the very processes through which images are constructed.

Following its 2025 tour through Barcelona, Ibiza, Paris, London, and Tokyo, a selection of the exhibition is presented at Art Madrid, reinforcing its international scope and its adaptability to diverse cultural contexts. The proposal for Art Madrid’26 brings together artists whose practices unfold at the intersection of urban art, contemporary illustration, and hybrid methodologies: Honet, Yu Maeda, Nicolas Villamizar, Fafi, Yoshi, and Cachetejack.

While their visual languages vary—ranging from graphic and narrative approaches to chromatic explorations charged with gestural intensity—the curatorial framework establishes a shared axis: a free, experimental, and distinctly color-driven attitude. In this sense, color functions as a conceptual structure that articulates the works while simultaneously connecting them to the specific materiality of POSCA.

The marker’s inherent chromatic vibrancy engages in dialogue with the formal assertiveness of the circle, generating surfaces in which saturation and contrast take center stage. The tool thus becomes embedded within the exhibition discourse, operating as a coherent extension of the participating artists’ aesthetic vocabularies.

One of the project’s most significant dimensions is the active incorporation of the public. Within the exhibition space—activated by POSCA during Art Madrid’26—visitors will be invited to intervene on circular supports installed on the wall using POSCA markers, thereby symbolically integrating themselves into The Rolling Collection during its presentation in Madrid.

This strategy introduces a relational dimension that destabilizes the notion of the closed artwork. Authorship becomes decentralized, and the exhibition space transforms into a dynamic surface for the accumulation of gestures. From a theoretical standpoint, the project may be understood as aligning with participatory practices that, without compromising formal coherence, open the artistic dispositif to contingency and multiplicity.

The selection of POSCA as the instrument for this collective intervention is deliberate. Its ease of use, line control, and compatibility with multiple surfaces ensure an accessible experience without diminishing the visual potency of the outcome. In this way, the marker operates as a mediator between professional practice and spontaneous experimentation, dissolving technical hierarchies.

The title itself, The Rolling Collection, suggests a collection in motion—unfixed to a single space or definitive configuration. Its itinerant nature, combined with the incorporation of local interventions, transforms the project into an organism in continuous evolution. Within this framework, POSCA positions itself as a material catalyst for a transnational creative community. Long associated with urban scenes and emerging practices, the brand reinforces its identity as an ally of open, experimental, and collaborative processes.

POSCA x The Rolling Collection should not be understood merely as a collaboration between a company and a curatorial initiative; rather, it constitutes a strategic convergence of tool, discourse, and community. The project proposes a reflection on format, the global circulation of contemporary art, and the expansion of authorship, while POSCA provides the technical infrastructure that makes both individual works and collective experience possible.