At the end of the 2000s, a mystical wave swept over Russia: people were talking about the approaching end of the world, any significant social event was endowed with mystical meaning.

The Urals, located on the border between Europe and Asia, was perceived throughout the 20th century as a space of the mysterious, otherworldly, something on the fault line of the worlds.... And this otherworldliness, chthonicity and metaphysicality was perceived as an alternative to the glamorous capitalist world, which had just ended in Russia due to the crisis of 2008. Each painting in the series plays on clichés associated with the Urals (the writer Pavel Bazhov, the tragedy at Dyatlov Pass, the famous Soviet painting Grey Urals Forges Victory), but does so in an advertising and frightening way.