I appreciate magical realism because, unlike science fiction, which always functions as a packaging of reality, magical realism, on the contrary, aims to unpack reality. It offers a system of images capable of self-organizing during the reading process, often using non-human agents, such as plants, animals, and insects.

I adore all these cows, butterflies, and molluscs because, in my view, it's an effortless and incredibly rapid way to retransmit the semantic self-organization of storytelling through simple animal behaviour patterns. Animals must procure food, seek a safe environment, and produce offspring. Deleuze brilliantly illustrated this when he, in his alphabet, provided examples of the simplest insects, ticks, and lice, which have only three actions they need to perform in their lives: find a place to hide, jump on prey at the right moment, and attach.

By receiving an analogy in the form of an animal, we automatically interpret its behaviour pattern and transpose it into the progression of emotions. For example, yellow butterflies whimsically swarming above the protagonist's head in Garcia Marquez's work reflect the painfully rapid degeneration of human attachment. The butterflies, in the form of flashes of biomass, burn out within a day, creating a vivid visual image when reading.
In contrast, the cows that have taken over the patriarch's castle symbolize gradual changes. In scale, the cows resemble pieces of furniture that clutter the palace; they move unhurriedly, destroying former luxury, chewing on velvet curtains, and leaving cow pies on silk carpets.

Modern artist, art theorist, and curator Dmitry Bulatov aptly describes the direction of my art in his notes:
When the freedom of artistic thought is taken to the extreme (as in Duchamp's "Fountain"), art enters a domain closely related to religion. The discussion of such "religiousness" in art is not coincidental, given that "Religio" (Latin) also means "I bind" or "I connect." This is the search and exploration of connections between earthly and unearthly, human and non-human agents, relations within a community, a biome (or society), and links between a person and dominant discourses (commandments) and institutions. These relationships can be viewed as ways of establishing connections on a secular level (between people, believers, and non-believers) and between a person and God. What is intriguing is that all of these methods are based on aesthetics if we understand aesthetic sensibility as the ability of a person (or, for example, AI and generative neural networks) to react to the connecting pattern.