Русский 
Deutsch Education
– Art History and Restoration, the Russian State University for the Humanities (RGGU), Faculty of History of Art;
– Art and Archaeology, V. Golenishchev Center of Egyptology, the Russian State University for the Humanities (RGGU)
Valeria Kuvatova is a Moscow-based visual artist working primarily in acrylic on canvas with textured mediums and experimental layering techniques. Her practice focuses on large-format works — typically ranging from 80 × 80 cm to 100 × 100 cm — where scientific aesthetics meet poetic abstraction.
She holds a degree in Art History and Restoration from the Russian State University for the Humanities (RGGU), Faculty of History of Art. Her background in both scientific education and academic art history informs her conceptually rich and visually refined approach to painting.
Kuvatova’s work explores themes at the intersection of biology, cosmology, and intuitive form, creating suspended compositions that evoke inner vibration, emergence, and the material trace of thought.
– Art History and Restoration, the Russian State University for the Humanities (RGGU), Faculty of History of Art;
– Art and Archaeology, V. Golenishchev Center of Egyptology, the Russian State University for the Humanities (RGGU)
I’ve always been drawn to the natural sciences — ever since my early education at a physics and math school. The vastness of physics and the quiet magic of biology remain endless sources of energy, curiosity, and creative drive. My painting explores the delicate intersection of biology, memory, and abstraction.
In this series, I create suspended worlds — spheres of potential — that speak to both the emergence of life and distant cosmological events. These forms rest lightly on the frameworks of scientific language: genetic codes and chemical diagrams become quiet undercurrents for new shapes and meanings to surface.
Working in acrylic on canvas with a layered, mixed-media approach — including palette knives, glazing, fluid techniques, and experimental mediums — I build textured surfaces where fractured geometries meet internal light. The palette is soft but intentional: graphite, silver, dusty pink, radiant white — a chromatic echo of a pearl in the process of forming.
Painting, for me, is an echo of thought. Each composition captures a moment held between form and becoming — a vibration caught on the threshold of emergence. Influenced by post-minimalism and scientific aesthetics, I don’t aim to explain. Instead, I build spaces where intuition, biology, and material briefly align — before separating again into their own quiet trajectories.
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