He was also known by the pseudonym Frypulia, which served both as a code name and the title of his philosophical, aesthetic, and visual system. This system formed the foundation of a unique artistic approach — formatism from the format — focused on the infinity of human and planetary life and the inseparable connection between humans and the world as an indivisible whole organism.
Tetianych did performative acts wearing an exotic freak mask. Frypulia became his greeting, which he shouted during street actions, often inside or near a spherical structure he called the biotechnosphere — a 240 cm-diameter sphere containing everything needed for human survival in the event of a catastrophic disaster on Earth.
His works were created from improvised materials and were called a protest against socialist realism. He actively used various industrial and consumer waste in his compositions, conveying the concept of a holistic perception of the world while combining aesthetic improvement with environmental cleansing.
Initially, he accepted monumental commissions for income, but later rejected them, avoiding the vanity of the glamorous art and political circles of his time. According to his beliefs, such influences hindered the development of true creative abilities. Most people considered him eccentric, visionary, or even mad.
Tetianych believed that the artist is simultaneously a creator, a tool, and a canvas.