The artist explores the theme of landscape as a social and a “museum” genre existing on the periphery of the actual cultural field. By depicting wastelands, roadsides and buffer zones on canvases, which are on the border of human habitation and wild nature, Egor moves the character of the painting — the sculpture of the viewer — beyond the pictorial plane. Large format paintings are often “shrunk” to small “insignificant” landscape fragments, and the characters-sculptures begin to “hide” from the viewer.