"The artist is often like a traveller, exploring the surrounding environment through the eyes of an innocent child. He can't focus on the famous landmarks. He is like a lonely wanderer arrived from a faraway land, focussing his binoculars on trivial details. Or alternatively he uses a telescope, microscope or even a lorgnette to the same effect. An optical lens pops up on the surface of his painting, highlighting a seemingly random fragment.
The deserted landscapes, which he explores becomes the boundary between the itinerant artist and real life — and this optical border is the second meaning of Semyon Agroskin''s paintings.
But there is another, deeper interpretation, the link with traditional painting. The sea, shore and mountains are all subjects that a great variety of artists have tried to interpret.
The paintings presented here are unlikely to enter into any kind of debate or interaction with these canonical styles of painting. They are more of an objective documentation: their author is like a truthful narrator rather than an artist.
His depictions are so truthful, they could be shown to one's grandchildren."