Aliaksandr Biruk
Aliaksandr Biruk, 'Disturbed Reflection', 2026, Acrylic on canvas, 40 x 50cm
Aliaksandr Biruk (b. 1992, Minsk, Belarus) is a painter living and working in Warsaw, Poland.
He studied painting at A. Glebov State Art College in Minsk (2008–2012) and received a Master's degree in Monumental Painting from the Stieglitz State Academy of Art and Design in Saint Petersburg (2012–2018). His practice encompasses easel painting and monumental projects, including large-scale murals.
Selected Exhibitions
2026 — Vortex Motion (Group exhibition), Strefa Wolno-Słowa, Warsaw, Poland
2026 — Delphian Open Call (Selected for group print exhibition), Delphian Gallery, London, UK
2026 — Otwarte na oścież (Group exhibition), SEKA Art, Warsaw, Poland
2026 — So This Is Goodbye (Group exhibition), BEERS London, London, UK
2025 — Shared Distance (Group exhibition), Identica Gallery, Zevit Artspace, Tbilisi, Georgia
2023 — Belarusian tentoonstellingen (Group exhibition), De Twee Pauwen, The Hague, Netherlands
2023 — Je ne suis pas arrivé (Group exhibition), Dissolution Gallery, Tbilisi, Georgia
2022 — No Title (Group exhibition), De Twee Pauwen, The Hague, Netherlands
2022 — Spring Pigment (Group exhibition), Dissolution Gallery, Tbilisi, Georgia.
His earlier solo exhibitions include Man Watering a Tree (InArt Gallery, Moscow, 2021), My Pictures (ARTMUSA, Saint Petersburg, 2020), and Mythology of Color (Paints of Life Gallery, Saint Petersburg, 2020).
In 2024, Biruk received the Gaude Polonia scholarship from the Minister of Culture and National Heritage of Poland.
Aliaksandr Biruk explores how narratives shape our understanding of experience, memory and identity, and what happens when these familiar structures of meaning begin to dissolve. He is particularly interested in the interval before new narratives take form. Rather than an absence of meaning, he sees this as a state in which perception, imagination and bodily experience become unusually receptive to new associations.
His experience of displacement and different cultural contexts has made the instability of personal and collective narratives especially tangible. His paintings give this uncertain condition a physical and psychological space, often taking the form of forests, imagined landscapes and ambiguous environments. Here, ordinary actions and gestures can acquire the significance of improvised rituals. They suggest how attention and imagination can transform familiar experiences into something poetic, mysterious or temporarily sacred.
Biruk approaches painting as a form of visual composition in which recognisable figures emerge from arrangements of colour, shape and brushwork. He deliberately allows room for unexpected visual relationships, discovering new possibilities through the process itself. The image can thus develop meanings that were never fully anticipated at the outset.