Dmytro Kavsan primarily worked on easel painting. Kavsan’s landscapes, still lifes, portraits, and thematic paintings were executed realistically, following the traditions of transavantgarde. His works are characterized by vitality, bright color, and richness of light. From 1990, together with Oleh Holosiy, Valeriya Trubina, Oleksandr Hnylytsky, Yuriy Solomko, and other artist friends, he worked in a squat — an abandoned building at the corner of Bohdan Khmelnytsky Street (then Lenin Street) and Ivan Franko Street. Despite the squat’s short existence, the creative life with like-minded artists pushed them to find a new space — and in 1991 they occupied a building on Mykhailivska Street (then Paris Commune Street), forming the squat Parkomuna, which existed until 1994.
Kavsan’s works created before 1993, during his time in the squats, were executed within the plastic system of Ukrainian transavantgarde, characterized by an expressive painting style and psychedelic, historical, and mythological subjects.
A distinctive feature of the artist’s work is polystylism — a free combination of methods, styles, compositional specifics, and structural features of known movements. In his works, he combined eras, mixed styles, and creative directions. Kavsan is considered an artist “outside society”, outside any movement.
His works are marked by high painterly skill, and he had a deep knowledge of world history and art history. His works require careful observation — they cannot be viewed superficially. According to Kavsan himself, the main theme of his art is the human standing on the earth, while the leitmotif of his paintings is the world — “a small world within the painting”.
He participated in all-Ukrainian and all-Union art exhibitions, and his solo exhibitions were held in Kyiv, Bonn, and Vienna. Some of Dmytro Kavsan’s works are held in the National Art Museum of Ukraine, and in Sumy, Vinnytsia, and Khmelnytskyi.