I’m Arseniy Valter (post_it_screw_it), a Moscow-born architect and video artist based in Madrid.
I oppose the war against Ukraine - plainly and firmly - because violence reshapes bodies, homes, and memory, and my work is ultimately about what survives inside a person when the world becomes unstable.
I create cinematic moving-image works built through 3D, animation, and occasional mixed-media fragments. These pieces often exist as looped films, short audio-visual works, and multi-panel formats - intimate scenes rendered with the clarity of design and the uncertainty of dreams. I use synthetic space the way architecture uses light: not as decoration, but as a pressure system. A room can feel like tenderness. A corridor can feel like shame.
My inquiry is simple to say, harder to finish: how can a digital body, a fabricated environment, and a constructed soundscape carry real psychological weight - the kind that hits before language does? I’m drawn to the moments we hide from ourselves: fear of being misread, public pressure, the dull ache of estrangement, the private negotiations between desire and self-protection. In Sense, an animated triptych, I treat emotion as an enclosing structure - fear, intimidation, the hunger for freedom - and translate it into moving image that behaves like a nervous system on screen. In be3sis, I confront predetermination and the uneasy feeling of living inside a script, using the film as a staging ground for resistance - imperfect, but awake.
Architecture trained my eye to think in thresholds: interior and exterior, shelter and exposure, the visible and the unsaid. Commercially, I work as an art and creative director and 3D artist for global brands, building clear narratives at scale. Artistically, I use the same precision to do the opposite - to make work that does not explain, but reveals. Not a slogan. A door.
I’m not interested in neutral images. I’m interested in images that take a position: that the interior life is real, that the body remembers, that silence has shape - and that cinema, more than any medium I know, can hold time and feeling in the same frame long enough for recognition to happen.