Khomkov studied at the Faculty of Philology of Taras Shevchenko Kyiv University, focusing on Latin, Ancient Greek, and Old Church Slavonic (1957–1961). During his university years, his fascination with pagan rituals shaped the foundation of his worldview, but by the late 1950s he abandoned the official course of study and devoted himself entirely to painting.

From 1961 to 1968, Khomkov worked as an artist for the children’s magazine Malyatko, while simultaneously creating his first easel works. In 1966, he produced the still life series Flowers, and in 1968 he was participating in the All-Union exhibition Physical Culture and Sport in Fine Art.

Khomkov traveled extensively. Each creative expedition resulted in significant works: Chersonesus, Kerch–Freight, and Road — paintings inspired by his trips to Crimea (1960); the series Aleutian Rites, Songs of a Distant Land, and Ancestral Bonfire, created during long expeditions among shamans in Siberia, the North, and the Far East (1970s); and the “solar” cycle Trypillian Madonna, Holy Night, Trinity, Kupala, and Green Sunday, reflecting a return to ancient Ukrainian rituals (1980s). In 1983, on commission from the Ministry of Culture of the USSR, he painted Scythian Games.

At the same time, Khomkov sought to adapt to the demands of socialist realism. His work Builders was exhibited in Ukraine and abroad. In 1989, at the House of Artists, he delivered an author’s lecture “Cosmological Worldview and the Transformation of Artistic Image”, laying the foundation for his own cultural program and presenting a new understanding of the interplay between the cosmic and the sacred in painting.

In 1993, the museum retrospective Sixty from the 1960s featured Khomkov’s early works. That same year, his paintings were shown to an international audience at the exhibition L’Art en Ukraine in Toulouse, and he officially became a member of the National Union of Artists of Ukraine.

After 1993, Khomkov regularly took part in collaborative projects of the Ukrainian underground, as well as thematic exhibitions of Ukrainian abstraction of the 1960s–1980s.

In his art, Victor Khomkov combined mystical allusions to pagan rituals with powerful color impulses. His painting impressed audiences with the rhythm of diverse textures and dynamic graphic energy. He was among the first to introduce themes of extreme natural phenomena (auroras, typhoons, magnetic storms) into the discourse of painting, aligning his experiments with those of the Western avant-garde.

Khomkov’s works are preserved in private collections in Kyiv, Odesa, and Dnipro, and are featured in thematic catalogs of the Ukrainian underground (Dukat Auction House, 2017). He left behind a unique legacy where a deep connection with ancestral roots merges with bold innovation, opening new horizons for contemporary Ukrainian art.