An unexpected artist of his time, Shodi is unique, brutally honest with his audience and the era he inhabits. He began his painting journey rather unexpectedly at the age of 30. With a strikingly original voice, he is a cloisonnist, and his works adorn private collections of many countries around the world. While he explores a vast array of themes in his paintings, it cannot be said that these themes are directly connected to the surrounding conditions. Instead, he draws meanings and interpretations of form from within himself, fueled by an inner synthetic approach—his synthetic perception and style of seeing the world.

In his work, one can trace the influence of Pierre Bonnard, not so much in stylistic expressiveness or principles of color combination, but rather in the unexpected choices of narrative, the angle of perception, and the selective extraction of elements from the material world into his symbolic narrative, imbuing them with meanings that defy conventional interpretations. Unbeknownst to him, he shares a kinship with the French artistic group Nabis of 1888. Locally, his works echo those of Roerich, Gauguin, and Andrew Wyeth, encapsulating an elegiac chronotope of solitude and a palpable sense of melancholic existence. However, we can discuss all these non-physical, unconscious influences as part of a collective energy-information system that synchronizes around shared traits.

The decorative quality of Shodi’s painting fluctuates between the charm of natural color and a drift into color defocus, revealing unexpected color interactions. His use of color feels free and unbound by formal rules, as if the artist isn’t overly concerned with them. The spiritual nobility of self-taught naïveté and the purity of color transmission are the main forces of Shodi's creativity. In this space, the artist may sometimes lose his way, only to be gently brought back by the small influences of nature, or he may create abundantly, intoxicated by the tactile beauty of the natural world.