USSR - Under Contraints (Pre-Perestroika)
Early works are defined by compressed space and restrained tonal fields. Architecture functions as psychological framework rather than backdrop. These paintings establish the structural discipline that underlies all later developments.
Self-Portrait, 1980
Andrey Sakharov, 1982
Bulat Okudzhava, 1983
Isaac Babel, 1979
Vladimir Mayakovskiy, 1987
A Curatorial Selection Across Four Periods
Boris Uan-Zo-li’s work offers a rare dialogue between structural discipline and psychological intensity. The paintings below are selected to present the full arc of his visual language—formed under Soviet constraint, transformed through Perestroika and the post-1991 shift, and further clarified in later years.
Vladimir Lenin, 1986-89
John the Baptist, 1990
Post-Soviet Period — Architectural Synthesis (1992–2010)
Historic urban forms are distilled into essential geometry. Color becomes structural, not decorative. Multiple temporal references coexist within a unified compositional logic.
View from our window, 1994
Gates to paradise, 1995
A lonely man with a cat in Paris, 1993
Old Vienna, 1996
16th century Englishman, 1998
Late Works — Interior Expansion and Chromatic Clarity (2010–Present)
The later works expand into open interiors and framed city views. Planes stabilize and chromatic confidence increases. Architecture shifts from containment to invitation.
Rome, 2017
New York City, 2017
Greek soldier, 2019
Portait of an Englishman, 2016
Perestroika and Early 1990s — Transitional Expansion
With political and cultural shifts, spatial fields open and color gains autonomy. Structure remains central, but pressure gives way to articulation. The compositions begin to breathe.
Big city, 1996
Self-portrait, 1991
Michael Bulgakov, 1991