Since the mid—1980s, the artist perfected printed graphic technics of serigraphy, linocut, woodcut, lithography, cardboard engraving and collagraphy).

From Aleksandr Kamensky’s article (1988): The works create new poetry, which involuntarily rivals with habitual esthetic stereotypes.

For instance, we accept as a common notion to worship joyously the classic beauty of St. Petersburg, its harmony and stately grandeur.

One does not regard the regal magnificence of the urban landscape-it is neither cast aside, nor left behind the curtains, as dramatism of modern perception takes over.

One regards not a city museum for curious crowds, but one beholds the habitat of our days where we seek, love, fight, suffer.

That art defines perception...[2]From Mikhail German’s article (1991): ...from my point of view, a very serious, worthy and professional exhibition.

It's nice that there is a solid culture of color, ...there is a persistent desire to express their feelings of life, their artistic vision.

From Nikolay Blagodatov's article (2002): His works show high culture, erudition and taste, it is hard to favor any particular piece.

The intimate relationships between text and image is enhanced when author and artist are one and the same person and engage in an inter-art discourse that leads to creations that are truly unified works of art.

An artist who achieved equal mastery in more than one medium and made different arts merge in his personality was no doubt Alexey Parygin.

His poetic collections <...> represent an attempt to synthesize text and plastic figurative form in books where literary and visual languages are calculated to have a simultaneous effect on the reader/viewer.

[12]Spanning for three decades of featured art works the legacy holds about forty unique book objects.

M. 2018;[20] Poeziya neizvestnykh slov: Variatsii v kirillitse (Poetry of Unknown Words: Variations in the Cyrillic alphabet).

[21] Since 1986, the artist participated in more than 250 exhibitions held in Russia (St. Petersburg, Moscow, Rostov-on-Donn, Kazan, Nizhny Novgorod, Kaluga, Arkhangelsk, Saratov, etc.).

The artist exhibited in the Netherlands in Groningen, Eindhoven; Germany in Kiel, Hamburg, Aachen; Italy in Naples, Rome, Caltanissetta; Spain in Bilbao; Montenegro in Bar; Latvia in Riga; Poland in Warsaw; China in Beijing; Mexico in Mexico City; India; Brazil in Bagé; Guatemala in San Pedro Carchá; Ethiopia in Addis Ababa and others.

Vistula Spit, 2018);[35] “Printed Graphics” (Kazan, Sviyazhsk/ Tatarstan, 2016); “Crna Gora u o'ima ruskih slikara” (Bar/ Montenegro, 2012); “Warszawa w budowie — architektura XXI w malarstwie (Warsaw/ Poland, September 16–26, 2011)[36] and others.

He taught layout, the basics of composition, and the foundations of sculpture at the Institute of Landscape Architecture Saint-Petersburg State Forestry University (2017–2019).

Parygin is the author of Russia's first fundamental art research on the history and phenomenology of creative silk screening.

[51] Parygin is the author of Russia's first fundamental art research on the history and phenomenology of creative silk screening .

Kerner and others) for the German academic directory Allgemeines Künstlerlexikon Die Bildenden Künstler aller Zeiten und Völker (AKL).