Intrigue in the Picture.
The present exposition in the gallery Les Oreades symbolically correlates with the annual exhibition of Kandinskii Premium. Here the works of different contemporary artists are gathered. Most of them had a long creative ways behind their backs. Frequently beginning from the academic realism, they passed through all the steps of art development from the dawn of Earth history. And now they came to more open and free styles. But not with standing all the power of a turn that changed art world in the XX c, we can’t still be sure that this turn was absolutely radical. Obviously most of genres are still alive after the great quantity of experiments over them: portraits, still lives, landscapes are painted and actual. Only the question “how” it is done nowadays puts us out of any classical boundaries, but exactly here begins the intrigue of every picture. First of all it appeals to emotional impulse, memory and imagination of spectator. Maybe it seems to us that abstractionism stands somewhere out of this process but even for its’ chaotic, erratic forms the parallels in a nature of objects can be found.
Today it frequently happens that the works of even one artist are hardly to be exhibited in a single space because of the diversity and dynamic of his creativity only during 2 or 3 years. Uniqueness of this exposition is that several masters are united here, each of them came to homogenous results by his own independent way. Common style is based at the destruction of traditional forms, no matter what is depicted - either man, vase or building. In the still lives of A. Lantsev, A. Purlik, E. Krjukov spontaneous coloristic spots, scattered over the canvas, by quick lines are transformed into recognizable objects, if to be more precise, into reminding of them. The same principle is used in sculptural works of V. Chibisov, which strikes only few exact blows at the abstract piece of stone, and a vivid image appears out of it. But the most magnetic enigma for creative searching is psychology, person of a man. The diversity of portrait genre again and again proves this statement. On the one part, there are immersions into spiritual feelings in the works of L. Slavinskaya, where faces are almost symbols of emotions, in the chthonic phantasmagorias of V. Sidorov, in the delicate, depressive images of Peter Dick. On the other part, there are vivid by their external forms “Models” of G. Edelman, life-asserting by her beauty “Woman with a Dish” of V. Djemesjuk, and stylized sculptures of A. Chichkin. Somewhere between these two psychological sides gipsy faces of B. Kocheshvili are stiffened in a surrealistic space. And the theatrical images of a famous M. Feigin still play their silent roles. Abstract canvases of V. Sakhatov are deficient of any allusions at portrait and thus they sharply and poignantly depict pure contemplation of human depths.
Exposition is based at fine coloristic correlations, at logical accumulation from light ochre to heavy red; blue and lazurite are binding element for all the works. Such an artistic building of the exhibition doesn’t allow a spectator to be lost in a dizzy variety of art, and puts him into intriguing and incentive condition.