Where Stories Exist Without Words
When I think about mythological posters, I don’t think about storytelling in a linear sense. I think about presence. Ancient narratives were rarely told only through words—they existed in symbols, in recurring forms, in visual codes that carried meaning across generations. Mythological posters, for me, are not illustrations of specific stories, but spaces where these narrative fragments continue to exist. The image does not explain the myth—it holds it.
Archetypes That Do Not Belong To One Time
Across mythologies—Slavic, Celtic, Greek, and beyond—certain figures and forms repeat. The dual figure, the transforming body, the protective symbol, the figure between worlds. These archetypes do not belong to a single culture or moment. They persist because they reflect something structural in human perception. When I work on mythological posters, I am not referencing a single narrative. I am working with these recurring forms that carry meaning beyond context.
The Language Of Transformation
Transformation is central to mythological imagery. Bodies shift, forms merge, boundaries dissolve. In Slavic folklore, figures often exist between states—human and animal, living and non-living, visible and hidden. This fluidity is something I return to in my work. Mythological posters do not fix identity. They allow it to move, to remain open, to exist in transition.
Botanical Symbols As Narrative Fragments
Plants have always held a place within mythological systems. Trees as connections between worlds, flowers as markers of cycles, roots as links to what is unseen. In mythological posters, botanical forms are not decorative—they are narrative elements. A flower may not represent a specific story, but it carries associations with growth, decay, renewal. These associations function as fragments of larger narratives that remain present within the image.
Ornament As Mythic Structure
Ornament in mythological contexts was never neutral. Repeated patterns, circular forms, symmetrical arrangements—all carried symbolic weight. They structured the image in a way that reflected broader cosmological ideas. In my work, I draw from this approach, where ornament becomes part of the narrative rather than something separate from it. The image is not framed by decoration—it is built through it.
The Persistence Of Ancient Visual Codes
Even when removed from their original contexts, mythological symbols continue to function. They may lose specific meanings, but they retain a sense of familiarity, of recognition that does not require explanation. This is what interests me most. Mythological posters operate within this space, where ancient visual codes remain active without being fully decoded. The image feels known, even when its meaning is not entirely clear.
A Narrative That Remains Open
Mythological posters do not resolve into a single story. They remain open, holding multiple associations at once. I am not trying to reconstruct myths as they were, but to work with their fragments in a way that allows them to continue evolving. The narrative is not fixed—it exists as a presence within the image, something that can be entered rather than fully understood.
