Oriza Triznak

He graduated from St. Petersburg State University of Culture and Arts. He began his acting career in 1989 with director Dmitry Frolov in the film "Nights of the Full Moon" (1989-1993), where he played the main role. The author of the story "Shatanger Yalok". He is known for a number of literary works, as well as the cycle of poems "Night". The world of Oriza Trizniak is a world of oppositions. As soon as Oriza Trizniak was born, he immediately opposed himself to nature, then to the collective and unconventional morality, and a little later, being forced to do something in this life, Oriza Trizniak finally and irrevocably opposed himself to the world of pure. However, the world of chistogan categorically opposed itself to Oriza Trizniak — this fatal irrefutability certainly put a gloomy stamp on his work. Oriza Trizniak is a virginally superficial person, which makes it possible to call his art touching (In-Touch Art), since it only slightly touches on the problems of being, thereby contrasting itself with serious art. But the world of the arrogant underground, with its peremptory gray loudness and complex affectation, is alien to Oriza Triznyak: he contrasts his kind laziness and warm, unassuming humor with the damp basement aesthetics.

He graduated from St. Petersburg State University of Culture and Arts. He began his acting career in 1989 with director Dmitry Frolov in the film "Nights of the Full Moon" (1989-1993), where he played the main role. The author of the story "Shatanger Yalok". He is known for a number of literary works, as well as the cycle of poems "Night". The world of Oriza Trizniak is a world of oppositions. As soon as Oriza Trizniak was born, he immediately opposed himself to nature, then to the collective and unconventional morality, and a little later, being forced to do something in this life, Oriza Trizniak finally and irrevocably opposed himself to the world of pure. However, the world of chistogan categorically opposed itself to Oriza Trizniak — this fatal irrefutability certainly put a gloomy stamp on his work. Oriza Trizniak is a virginally superficial person, which makes it possible to call his art touching (In-Touch Art), since it only slightly touches on the problems of being, thereby contrasting itself with serious art. But the world of the arrogant underground, with its peremptory gray loudness and complex affectation, is alien to Oriza Triznyak: he contrasts his kind laziness and warm, unassuming humor with the damp basement aesthetics.