Twenty-five paintings in acrylic on canvas — ten chapters and fifteen further works
Every river already knows the ocean.
Scroll ↓Ten chapters tracing water from its source to the sea — and, alongside it, a passage from awakening to stillness.
Light gathers outward from a single unlit point, emerald and turquoise parting like water around a stone — the instant before the nameless takes a name. The opening work in the River to the Ocean series.
Source opens the visual journey of The River to the Ocean. Unlike the paintings of rain or forest that immerse the viewer in movement, this work gathers energy before releasing it — potential rather than arrival.
“Every river already knows the ocean.”
Two currents meet, and for a while neither remembers which was which. Rings of coral, sage, and cream spiral toward a dark center — two lives folding into one without ceremony.
If Source represents emergence, Confluence represents relationship. The spiral composition gently draws the eye inward through overlapping bands of color, suggesting countless currents converging toward a living center.
“No river reaches the ocean alone.”
The softest painting in the group. Lavender, white, and dusty rose settle together, a pool so still it barely disturbs the sky it’s reflecting.
Olive, tan, and plum interlock in a dense, woven grid, quieter and more settled than its neighbors — the color of something that has stopped moving long enough to take root.
Sea green and coral dissolve into one another, the world not yet resolved back into separate things. The particular hour just after rain, before the mist decides what to do.
Plum and maroon fall in a dense, unbroken column, deep teal threading through like memory that never quite fades yet never weighs the current down. The largest and darkest of the vertical paintings.
Teal, blue, and pink drift across the canvas in broad, unhurried strokes — the valley’s kind of quiet, full because it stayed empty long enough to be filled.
Tan, blue, and orange gather into broad, sun-warmed strokes, holding what the last high tide left behind — content to reflect the whole sky in a few inches of shallow water.
Turquoise, indigo, and crimson move in both directions at once, meeting at a luminous opening near the canvas’s heart — a threshold you don’t notice crossing until you’re through it.
Emergence speaks of transformation, reflecting nature's continuous movement toward renewal as resistance softens.
“Not a destination, but a quiet invitation inward.”
Deep blue folds into itself in slow circles, one note of crimson surfacing like a memory the water almost let go of. Stillness and movement, no longer two different things.
Fifteen further acrylic paintings along the river — from rain and forest to tide and return. Each is an original; write to inquire about availability.
Green and gold fall together down the canvas in a rhythm closer to breathing than weather, each stroke small and unforced, becoming forest only in the company of many others.
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Purple, green, and gold rise and fall together in tight columns, dense enough to feel structural — a quiet that somehow does more work than the noise around it.
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Violet, gold, and crimson cut through this small canvas with real force — current that learned force by first learning to yield. Small doesn’t mean quiet; this is the loudest painting in the room.
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Indigo and burnt orange move quietly downward, cooling toward the edges, doing the essential work in the dark — unwitnessed, unannounced, already finished by the time anyone notices.
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Rain that doesn’t fall so much as arrive, settling through the canopy in unhurried columns of green and teal. Mostly space disguised as color — not everything needs filling.
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Rose, sage, and plum blend at a distance into a soft, quilted hush. Only afterward do you realize you can’t say where one current ended and the other began.
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Magenta, violet, and green crowd the canvas edge to edge, dense as a reef at noon — every part of it reaching toward the light at once, none of it waiting its turn.
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Green, ochre, and pearl gather into countless small, rounded marks, each distinct up close, each disappearing into rhythm from a few steps back. A single leaf and the whole tree.
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Plum and crimson are interrupted by sudden passages of white and orange, current meeting something it didn’t see coming. Small canvas, sharp turn.
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Teal, green, and cream settle into an unusually orderly grid, calm in a way none of the other mosaics quite manage. The discipline of water agreeing, for once, to be still.
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Green and burnt orange loosen at the edges of this small study, catching what’s left of the afternoon before it’s gone. The forest floor gets whatever light makes it through.
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Warm greens and golds build toward a brighter passage at the base, a small ember of the larger burst paintings — water remembering it used to be close to fire.
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Magenta and teal press diagonally across this canvas with real urgency, current compressed into the smallest space it’s been given without losing any of its force.
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Plum, tan, and cream dabs gather loosely, unhurried and a little unfinished-looking — water simply resting before it decides to move again.
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What goes out with the tide comes back changed — not the same water, but the same nature, returning the way it has to. The closing piece in the sequence.
Inquire about this workThree paintings from River to the Ocean — Source, Confluence, and Deep Water (shown as Stillness Beneath the Waves) — submitted to this juried exhibition. Opening reception August 1, 3–5pm.
Forest Breath is on view in the 16th Annual Abstract Only!, presented by the Hawaiʻi Island Art Alliance. The opening reception, postponed a week by Tropical Storm Lala, was held Saturday, August 29, 5–7pm, with awards at 5:30pm.
Inaugural Red Road Art Studio Tour through the studios of Lower Puna, Hawaiʻi Island. Visit Sasha Chichagov at Studio A, 12-7227 Namohala St, Kehena — abstract acrylics from the River to the Ocean series. Map and artist list: redroadarttour.com.

Tropical Storm Lala pushed the opening back a week, but Saturday it finally happened: the reception for the 16th Annual Abstract Only! at Wailoa Center, 5–7pm, with awards at 5:30pm. Forest Breath is on view now through September 17. Grateful to Wailoa Center and the Hawaiʻi Island Art Alliance for carrying the show through the weather.

This week, Forest Breath begins its own crossing — packed up and carried to Wailoa Center in Hilo for the 16th Annual Abstract Only!, a multimedia juried exhibition presented by Wailoa Center and the Hawaiʻi Island Art Alliance. Painted in 2025, it is part of the River to the Ocean series — color finding its own current. Eighty-three artists from Hawaiʻi and beyond will fill the gallery this year, with an installation in the Fountain Gallery by juror Codie King. The show opens August 15 and runs through September 17, with an opening reception Saturday, August 15, 5–7pm at Wailoa Center, 200 Piʻopiʻo Street, Hilo.
Three paintings that began as studies in water — Source, Confluence, and Deep Water (shown as Stillness Beneath the Waves) — found a wall of their own last night, part of Portal 3, the Waimea Arts Council’s all-island juried exhibition. My wife Lena stood with me in front of Source; my mentor Laura McClanahan, my partner in the Cross-Pollination exhibition, made the drive up; and at some point in the evening I found myself talking with Lisa Solomine, the juror who selected the work — she told me, in her own words, that she’d been moved by all three paintings. One hundred and nine pieces were submitted this year. Getting three into the same room felt like watching separate currents discover they’d been headed to the same river all along. Portal 3 runs through September 27 at the Firehouse Gallery, Waimea.

“Forest Breath” has been selected for the 2026 Abstract Only! exhibition at Wailoa Center in Hilo, presented by the Hawaiʻi Island Art Alliance. Exhibition dates: August 15–September 17. Opening reception Saturday, August 15, 5–7pm.
I create contemporary abstract acrylic paintings inspired by the living landscapes of Hawaiʻi. Rather than depicting nature directly, my paintings explore water as a universal language — rain, rivers, forests, tides, and ocean currents become metaphors for transformation, presence, and connection. Layered brushstrokes invite contemplation and reveal movement beneath the visible world. River to the Ocean is the unifying concept behind this body of work: each painting a chapter in a visual journey from source to sea.
Sasha Chichagov is a contemporary abstract painter living on Hawaiʻi Island near Kehena on the Red Road. Working in acrylic, he draws inspiration from rainforest, volcanic landscapes, and the Pacific Ocean. Earlier work, made in Ottawa, Canada between 1978 and 2008, is gathered in the Archive below.
Paintings, studies, and sketches from before River to the Ocean — three decades of work made in Ottawa, Canada, and in the years since.
Fourteen paintings from the original chichagov.net site, spanning three decades of work made in Ottawa, Canada.
Aquarelles, graphics, and studies gathered from the studio archive.
Pages from a handmade sketchbook — "Sasha / Саша" — bound in yellow paper and cord.