In a strange way, his paintings combine two paradigms in the rendering of reality – statism and realism. Whereas an artist often attempts to complement the visible with the known (thus creating a reality), realists and impressionists have attempted to recreate, with painstaking accuracy, every moment of a seemingly ungraspable reality.

Ihor’s Lviv city-scapes, created in the first decade of our century, are prime examples of the artist’s creativity and also emblematic of his Lviv schooling: a tell-tale stroke and a deep but not overpowering palette of colors. Use of light is less prevalent in Ihor’s paitings than in traditional impressionists’ works, but he uses light in a very sublime way, much like expressionists would.

Ihor’s city-scapes are welcoming, but not overly joyful; light but not bright. They show Lviv in a natural state – not artificially spruced up for tourists, but also not in a state of bleakness. They depict scenes of a normal city, albeit one with a healthy dose of romantic flair; not overly colorful, but picturesque – one that at times would be overlooked were it not captured on Ihor’s canvasses.