Porcelain figures are placed on the pedestals of real monuments of Yekaterinburg, similar to the ones the artist saw as a child in the apartment of his great-aunt.

Heroes of the big Soviet history in photographic compilations were replaced by the characters of the domestic Soviet world. The series became one of the answers to the requests of the decommunization of the city space and the search for an alternative artistic language for the design of a post-Soviet city in the middle of the 2000s. Offering a fresh look at the familiar monuments, the series revealed a significant socio-aesthetic conflict: disillusioned with the former heroes, the society filled with nostalgia replaces them with the heroes of the same pantheon, but of a lower status.