Aleksey Barov (born in 2004) has lived in several orphanages and continues to live in one of such closed institutions. That is where he works - he creates sculptures rolling and mixing kilograms of plasticine for many hours a day, making cars, houses and medical instruments, which he perceives primarily as objects for games or rituals. He can measure pressure for a long time with a plasticine tonometer or heal his leg with a mysterious finger-fixing device. He is especially fascinated by the emergency vehicles: police and firefighter's cars, ambulances. Technical objects prevail in Barov's works and he reproduces meticulously every detail. Simplified human figures are rarely found in his compositions.

Aleksey works with his own personal experience, like many other artists do. Through his art, he expresses what he cannot fully tell by words. His sculptures reveal significant and painful memories from childhood: hospital stretchers, fire trucks, railways. Fire and fire-fighting machinery became an important motive in Barov's work. Supposedly he was a witness of conflagration, which left a serious imprint on his mind.

Speaking about Barov's sculptures, one can recall such trends in popular culture as biopunk and industrial, since they are united by the aestheticization of technological objects. At the same time, even frightening medical items - for example, syringes - do not look gloomy in Aleksey's interpretation. On the contrary: it seems that they seem to be of a frivolous, playful character, resembling objects from animation and works of pop art and post-pop art like sculptures by Jeff Koons.

In 2020, the work of the self-taught sculptor attracted the attention of the staff of the charitable organization Shag Navstrechu (Step Towards), who began to support him and provide him with art materials.

Barov's works were presented at the Catching the Big Fish exhibition at the Russian Museum (St. Petersburg, 2020).