The nineties
were the first big catastrophe in my life, which was linked to the collapse of hope. and that influenced my art a lot.
Multisync is honest, it has no way of not reflecting eternity in a particular moment. You are in a process of decomposition, and on television they tell you how beautiful democracy is. Beggars who didn't exist in the USSR appear on the street, and you are told about the achievements of perestroika. People start killing each other on a national level, and on TV they lie about development prospects. The former leaders of the Communist Party, feeling that the system's control over them was lost, rushed to seize businesses owned by the people, to use the country's general property for personal use, and on television they tell you what bright path we have chosen. These universal lies triggered anger. Multisens became angry. I felt a lot of blood approaching. I suffered from what happened, and that suffering naturally spilled over into my work.
"The contradictions of the historical catastrophe have had a dramatic effect on the artist's work. Distorted faces. Bodies dismembered by the explosion. Naked women giving birth in the ruins of houses. A homeless man on a street with threatened houses hanging over him that could collapse at any moment. This was the content of the works in the style of Multisens
.After the collapse of the USSR, one of the central units of this union - Ukraine, in whose territory Mariupol is located, became a sinking ship. The rupture of the existing links of the unified economic space with the USSR led to a standstill of enterprises, a sharp slide of the country into economic collapse
.The artist felt that he could no longer reproduce the dark energy of the dark decomposition period and stopped his creative activity in the visual arts. It is limited to spouting the inner self in Multisens' verbal art.
Between 1991 and 1996, Eugene Sensualis wrote more than 2000 poems in the author's diaries. He also analyses what is happening and records the most important events of his life, making disappointing predictions for the deepening of the crisis
.Later, illustrations appear in the form of sketches executed with a blue biros on punch cards from an old computer. The artist kept a stack of 100 illustrations in his archive without showing them to the public. The interwoven lines created images of people without eyes, strange architectural complexes without people. Trees became monsters in pictures where graphic means of expression expressed nature. Soon the author banned himself from painting at all.