As Edward Zaryanskiy recalls, this series of works, devoted to figures of aerobatics, became the most important starting point in which Pjyanitsa formed its own, unique artistic style. Aircrafts, aviation in general were far from popular subjects in art, and those rare artists who took it up, usually showed feats of pilots and regular flights passengers' chaos in the best traditions of socialist realism. But the planes themselves as an image, the image that creates impression, so valued by Alexey Trofimovich,—it was new and unusual, it was a real invention of his own language. A figurative language is meant here, the most important language looked for by all creators all their life, found and recognized by few.
His hard life did not let Pjyanitsa form himself as an artist in his younger years. In fact, only after his graduation from the Stroganov school, in adulthood, he went through the period that his more successful colleague had suffered decades earlier. Trials and errors, exhibitions and criticism, accumulation of knowledge, both practical and theoretical, he had to endure all this in the 'accelerated rewind' regime, in a compressed way, expeditiously and quickly. Alternating it with the service and taking care of the family.