[3]: 43 After graduating from secondary school in Haapsalu town in 1980, he joined the Soviet army for two years, as every male citizen of the Estonian SSR back then had to.
In this short video (2 minutes, 35 seconds) the artist is skating naked across the icy cold Baltic Sea, continuously circling the viewer.
Toomik has had more than twenty noteworthy solo exhibitions at different venues around the world since 1997, and is considered one of the few contemporary Estonian artists who can be discussed from two distinct angles – the domestic approach and the international reception.
For example, the video, Untitled (Man) (2001), displays a certain homage to the themes related to Vienna Actionism, which were important to Toomik in the late 1980s and early 1990s.
Elaan) in the middle of the muddy field whose genitals are tied to a stake or a rod through a long piece of white bandage, making him look “castrated”.
Invisible Pearls (2004), made in collaboration with Jaan Paavle and Risto Laius, is really a short documentary film about ex-convicts who have free-willingly gone through genital mutilation.
Liina (2003) and Jaanika (2007) also vividly demonstrate the documentary side of Toomik’s art, which contrasts with his usual artistic signature – universally laconic, short video images and sounds such as Jaan (2001) or Waterfall (2005).
Like in 1998, the voice of the artist's son is used in the soundtrack of the piece but this time it's a newborn baby, whose loud cries are juxtaposed by the abrupt “tantrums” of his middle-aged father.
Alongside his newest paintings and video works, it featured his first attempt as a filmmaker: a short film Communion (2007, 12 min) shot with a 35 mm camera.
His long-time friend and (sort of) alter ego Alar Sudak plays the protagonist of the film where almost no dialogue is used and atmosphere of Toomik's earlier video installations is clearly present.
In 2010 Toomik finished his second short film Oleg (2010, 20 min, 35 mm), a psychological story with a dark guilt-ridden atmosphere, which is based on his memories from the 1980s when he was in the Soviet Army.
Toomik has also publicly expressed a desire to make a full-length feature, while still maintaining a passionate attitude towards painting and all kinds of interdisciplinary art practises.