“Relative Explanations” cycle. “Brown Cards” series. Brown paperboard, white chalk, white pencil, 15 × 21 cm. 2024.

“Relative Explanations” cycle. “Structures of the Sky: Clouds” series. Blue paperboard, white chalk, white pencil, mechanical cut-out, 21 × 9,7 cm. 2024

Digital graphics, print. 2022

Layers of black matte canvas, white pencil, chalk, and staples. Various sizes. 2021—Ongoing

Black matte drawing pad, white gel ink, 29,7×42 cm. 2017.

Projection, black paperboard, white ink. 2017. Various sizes.

“Relative Explanations” cycle. “Surfaces” series. Black paper rolls, chalk, pencil. 2023. Various sizes.

“Relative Explanations” cycle. “Signs” series, 2023. Black paperboard, white chalk, white pencil, machine-cut arrangements. Various sizes.

Readymade forms, acrylic

“Relative Explanations” cycle. “Body” series. White paper, pre-printed image, black ink, 29,7 × 40 cm. 2017.

A series of drawings made on individual rectangular sheets of heavy white paper. Each sheet contains a fragment of an image, scheme, pattern.[dsm_masonry_gallery gallery_ids="4709,4710,4711,4712,4713,4714,4715,4716,4717,4719,4720,4721" dsm_sort_images_order="rand"...

Hand drawn designs, symbols and patterns that can represent a variety of meanings: cultural distinctions, personal expression, spiritual meanings or even abstract art.[dsm_masonry_gallery gallery_ids="4694,4695,4696,4697,4698,4699,4700,4701,4702"...

Reconstruction of well-preserved fragments of vases, dishes, sculptures

The sheets of paper are irregularly shaped. The paper is dark in color, covered with fragments of symbols and drawings of different shapes and subjects.

High quality 100% cotton, machine embroidery, felt insert, 30 × 40 cm, 12 pieces, 2017.

Layers of black matte cardboard, white gel ink, mechanical cut, mechanical drawing. 29,7 × 21 cm. 2018—Ongoing

100 Video fragments, shuffle playback, sound, 1920×1080. 2020—2021

“Relative Explanations” cycle. “Total Timeline” series. 12 pieces. Black paperboard, white chalk, white gel ink, 50 × 70 cm. 2018.

Inner School of Open Studies is a non-linear and hermetic art project committed to merging synthetic approaches in knowledge processing: language, calculation, and drawing. Collectively, these methods help us think, dream, and communicate across the dimensions of time...

120 video fragments, shuffled playback, 1920 × 1080, sound. 2018

Multidisciplinary project. 2017—On-going

Multidisciplinary on-going project. 2016—On-going

The series draws inspiration from the relationship between humans and computing machines. Hardware components, motherboard designs, interfaces, and unrevealed future tech ideas take form of screenshots, patents papers, and prototypes.

Autoplay module

A set of 360 cards, 300 gsm², 21×15 cm. 2022

Fragments of workflow, cabinet parts, and archive details.

A set of digital sketches. 2023—Ongoing.

A set of digital sketches. 2023—Ongoing.

A video-based fairytale. In February 2020 I wrote this fairytale as a reaction to whatever was happening out there. Later, during the springtime lockdown, I came up with an idea of a migrating audio-visual show. You know, we all remember those days, when all the activities happened to be only online. The main idea was to show this tale only for 24 hours on cultural institutions Instagram accounts. My friend and musician Dima Ustinov created a special soundtrack for each of the 22 pieces of the tale.

…The past is changing more often than the way we perceive it. The illusion that our world is static supported in the XX century by museums and historians who dig through the ashes of civilisations can no longer stand up to the challenges of today.

“Visual Dyslexia” and “Flakes” cycles. 2020—Ongoing. Black paperboard, white chalk, white pencil, pins. The site-specific arrangement.

300 video fragments and 300 lines of a poem in the form of a shuffled song combined in a mixture of endless loops. Multi-channel video, multi-channel sound. A first public demonstration in 2021.

“ATLAS 21.22.23” cycle, 120 sheets. Layers of black matte cardboard, chalk, white gel ink, mechanical cut, mechanical drawing, floating support, 29,7×40cm. 2022—On Going.

Layers of black matte cardboard, white gel ink, mechanical cut, mechanical drawing, eyelets. Various sizes. 2018—Ongoing

Layers of black matte cardboard, chalk, white gel ink, mechanical cut, mechanical drawing, black staples. 2021—2022. Published by Anthropogenic Markers: Stratigraphy and Context, by Max Planck Institute and Haus der Kulturen der Welt

Ping-pong balls, large and small resin particles, brass rods 10cm, metal wire, lens, paper masks, Laserjet print on transparent film. 2018.

The process of thinking can begin with a pencil. Whether you’re attempting topic-specific mark-making or pure beauty, you can document the experience of life, catch a glimpse of a thought, or capture emotion. Intimate, expressive, naive, or raw, the drawing is the framework of the picture.

Selection of introduction texts, quotes, and comments for exhibitions and other events. Shuffled order. Does not necessarily fit into the seamless narration.

“Visual Dyslexia” cycle. “ATLAS” series, 2015—2017. Paper, acrylic ink, gel ink, various sizes.

“Visual Dyslexia” cycle. “Alchemy, Pilots, Anthills” series, 2015—2016. White offset paper 120gms², acrylic ink, gel ink, a set of an unknown quantity, unique drawings, 21×29,7cm and 42×29,7cm

“Visual Dyslexia” cycle. “Spirals, Grids, Scales” series, 2015—2018. White offset paper 120gms², acrylic ink, gel ink, a set of an unknown quantity, unique drawings over LaserJet print, 21×29,7cm

“Visual Dyslexia” cycle. “Notebooks of Relations” series, 6 (9) topics, 2018—2020. White offset paper 80gms², acrylic ink, gel ink, LaserJet print, a set of 240 unique drawings, bound in 4 books, 15×21cm

Exhibitions, events, and installations. Views of the rooms and close-up fragments. Various cities, places, and years. Through their mosaic, a seamless narration erupts. Photographs are displayed in a shuffled order.

Inner School of Open Studies is a non-linear, hermetic art project. Dedicated to a combination of synthetic methods for preserving and developing knowledge: language, calculations, and drawing. These methods work together to allow people to understand, communicate, and preserve their findings and theories to others in a precise and accurate manner.

Selected excerpts of introductions, curatorial explications, and commentary for exhibitions and projects.

One day the boundary of the corporeal will end and everything will disintegrate into pure energy. Only one single ocean will remain of the Earth, shimmering with waves of former flesh. Only a few birds will survive, freed from the carcasses of their cells, but not the memory cells of human language. They will fly endlessly over the surface of the ocean to find, unsuccessfully, an island on which they can rest…

An ever-expanding and of various cards: sidenotes, footnotes, event titles, project ideas, methods, and so on. Printed on offset paper, 8.5×5.5cm. 2018—Ongoing

Set of 300 unique images made with text-to-image generation algorithm. The printed edition: 300 gsm², 10×15 cm. 2021—2022.

A selection of fragments and works from the Relative Explanations series. The main theme of the series is multi-layered abstract arrangements of schematic drawings, formulas, letters, and numbers. The visual poetry of information clouds unfolds from small drawings to spaces.

“Relative Explanations” cycle. “Flakes” series, 2019—Ongoing. Black paperboard, white chalk, white pencil, white gel ink, black and white staples, hand-torn and machine-cut arrangements. Various sizes.

“Relative Explanations” cycle. “Canvas Documents” series, 2022—Ongoing. Black primed canvas, white chalk, white ink, white pencil, staples, various sizes

“Relative Explanations” cycle. “Boards” series. 60 pieces. Black paperboard, white chalk, white pencil, 50 × 70 cm. 2019—Ongoing.

“Relative Explanations” cycle. “Pages” series. Black paperboard, white chalk, white pencil, 29,7 × 40 cm. 2022—Ongoing.

Spatial Concepts...The space consists of various storage systems like shelves, racks, and tables. Within it, there are black and white photographs of poor quality showcasing discoveries and experiments. Unclear purpose instruments such as archaeological rulers are...

Protey Temen’s practice is centered around using drawings, videos, books, and installations to create abstract visuals that explore and visualize the intersections between science and visual data. By utilizing the poetry of everyday life processes, he can create a deeper understanding and connection to the world around us.