The video work explores the transformation of Belarusian ornament through the language of sculptural animation. Bone, sand, gel, and synthetic textures continuously flow into one another, forming a closed cycle of transformation with no fixed beginning or end.
The ornament serves as a source of form and movement. The work continues the tradition of ornament within a new visual system, preserving its connection to the original source.
The title Усёхвасць is a word coined by the artist, formed from the Belarusian »усё« (all/everything) and the root »хапіць/хваціць« (to encompass), combined with the suffix of an abstract noun, »-асць«–comparable to how English forms abstract nouns with »-ness« (as in all-encompassingness, though this remains a coined rather than standard term). It expresses the principle of interconnectedness among forms, related to the idea of oneness: each element contains the whole within itself and passes into the next state as part of a shared, ongoing process.
The sound accompaniment–guitar and natural sounds–creates a meditative atmosphere in which the transformation is experienced as a continuous, natural process.