“TORSO” OF VICTOR PUSHKIN.
We all clearly understand how time is expensive now and how catastrophically we are lacking it for the realization of all our ideas. And the ideas are that what we have more than ever. This is quality of our dynamic epoch, which began to count seconds and stole from us eternity. And this circumstance is invincible. It is impossible to understand what is cause and what is result, but technical inventions, hastened life, at the same time readily come to help us. The quantity of photos that now we can quickly produce with digital photo camera before was hardly to imagine! And methods, which fell into the hands of photographers and artists with computer programs, are going off-scale by their diapason. They give the abilities, about which a painter of all last times could only dream. So a new artistic and virtual reality appeared, and its peculiarities are only begun to be explored, step by step. In old American article of theoretic C. Grinberg “After Painting” apprehension was stated that painting retained the battle with photo but will dye after the appearance of cinema. Not with standing this anxiety time successfully proved the vitality of all these sorts of art; they continue to co-exist and to enrich each other. Often in a cinema and in photo compositions are based at the principle of picture and very often v.v.
The master Victor Pushkin is in the sight of a new exhibition in Les Oreades Gallery. The last few years he is working in a technique of digital photo. It stands at a subtle edge between photo and canvas with paints and preserves their polar features. Like photos the works influence immediately and like paintings they rivet the long memory. In the exhibited serial “Torso” the last inventions of an artist are presented. Title is deliberately Latinized to add for the theme more elegancy and majesty. Under the word “torso” we are accustomed to understand sketches of antique ideals, forgetting about free and rich gallery of different images. Photo lies in a foundation of Victor’s works. But after several stages of treatments (manual and electronic) it can hardly be called so – now it is a real picture, in which the echoes of painting and reality, marble and fresco, and, at last, of time are sounding as a roll-call. Here majority of different feelings are unified, they are not so clear as to tell them by words. But a “clever eye” of a man (Gregory) always sees thin psychological tints behind a simple reality. And the new technical methods allowed to depict them at the surface.
In the pictures of Victor uncommon style arises: photos are archaized by their texture under the beginning of XX c; images are black-white so as they were seen through silver-plated, blurred plates of daguerreotypes, or they are slightly colored so as to become warm or cold by tone, not more. Prints are always lying at a relief surface of water-color paper or canvas. But in plastics of bodies and in compositions of cadres the beginning of XXI c inescapably shows. Modesty of nudes changed by dynamics and even aggression of their forms; the entire figure veiled into refined environment changed by concentration only at the figure and even its fragmentation. Cut of a cadre almost always hides glance of woman, remaining for impersonal contemplation pure and sometimes even abstract relief of her body. Of course, there is an erotic origin, but the main creative angle directed to aesthetics of form, that springing up out of tight, vacuum space. Structure of a woman (physic as well as spiritual) constantly and imperceptibly varies. Voice, glance, skin, rhythm of moving, taste – all of them change. And at the same time values and ideals are drifting. It is the endless and elusive vessel, in which man and time are falling and it will never be cognized from the beginning till the end. Wittily and poetically the author quoted, saying that Woman is an alien from planet Venire. And she still can’t accustom to the life on Earth where a Man from Mars became a strong master. Digital Photos of Victor Pushkin simply settled a new stage of development of this enigmatic creature. Perhaps, a painter didn’t pretend to make the principal openings in art, but still he executed them. He designed an exclusive style for the presentation of a well-known but always actual theme. And the next abilities of his technique you will be able to open in the next serial of works “Carnival”.
Svetlana Tarkhanova, art-historian