About
Born in the early 2000s in Kassel, Germany and with ukrainian heritage. I started to do art since I was a kid and thus started to experiment very early on. Then I discovered painting and got settled in the world of watercolor painting. At this point I have already worked with various artistic media, including film photography, sculptures, working with wood and even 3D-modeling. Familiar is boring, hence why I have been looking for new ways ever since. For a couple of years I have been working on my own printing technique, with the goal of developing an entirely new art form, that joins the various media I've worked with over the years. It is inspired by japanese Sumi-e (watercolor painting) and woodblock printing while utilising a personal buddhist philosophy.
I have been making music for about a decade now, albeit having an interest in it for quite a bit longer. I'm deeply inspired by experimental sounds and the indie music szene. Post rock, ambient and musiquè-concrete in particular, as well as electronica and oldschool IDM. The primary inspiration are artists such as Hainbach, Hello Meteor, Low Roar and Boards of Canada. My current works can be found under the alias "Paragogia" (based on the term Hypnagogia – the state between wakefulness and sleep). Though, the debut album is still in the making.
By now, I have used countless aliases, a fact that provides difficulties, however. Meaning I never had a proper identity. No artistic and poetic roots, which I could base my art on. Rome d'Nièprê is my answer to this dilemma. It's an alias based ony my real name, heritage and personal identity. The name connects to my family history, a story of many people. At the same time it also connects to the concept of gender, being nonbinary always made it difficult to be certain about one‘s own body. "Rome d'Nièprê" is just like my art, a playful interpretation of my reality.
Philosophy
My artistic philosophy but also philosophy of life follow the teachings of buddha. I'm very much influenced by japanese philosophy on art and living, which is generally rooted in buddhist teachings. I am, contrary to my goal of entering a career in the cultural heritage preservation - very much aware of the fact of decay. The fact that everything eventually vanishes. Still I don't run away from the inevitable. But rather interpret and represent it within my own artworks. With its many sides, the good and ugly, the weird and harmonic. Discussing death on an artistic and philosophical level is part of my work. Rooted in traditional japanese arts, such as Maki-e, I deliberately oppose our contemporary 'art on demand'. Art that is nothing but consumerism run loose. Time is precious and essential. I do things in complicated ways on purpose, because actual artistic expression lies within the process itself. A piece of art is done, when it's done. But what remains engrained in your memory is most and foremost the process. Humans forget to value the path taken. My philosophy considers the process as much, as the final result. Yet it's also a meditative practice, because when ever I express myself artistically, only one thing matters: to create. The mind forgets itself and fully exists within the moment. And such moment translates onto paper. By precise, intuitive and yet conscious act. It translates into all tools, the way of viewing things and so much more. My art and especially the colomeragè printing technique is an exercise of buddha's teachings. Buddha is just as much within all my works, as the depicted bonsai or clouds. In death and life.