How to perceive my art
My concept
My paintings are based on the author-developed system of “Flying elements” and “Connecting threads”. Together, they form an integral, visual whole.
Their basic composition has almost never changed since my very first paintings, similar to the basic jazz band instruments.
The ever-changing rhythm of attraction between different elements determines the style of the painting's graphic motion, emotions and meaning.
“Flying elements” are individual substances that never come into contact. They are located side by side and interact with each other. But, at the same time, they are absolutely separated — some sort of conversation about the uniqueness and the self-reliance of each particular phenomenon, object or idea.
“Connecting threads” refer to the nerve that combines phenomena into an integral whole. Depending on the way I use the threads to “connect” different elements as well as the direction and the degree of tension, everything will rush to the right or to the left and be joyful or sad, heavy or weightless, dynamic or floating. This way I can communicate different emotions, states and meanings.
Such threads are not decorative elements. They constitute the nervous system of my paintings.
About my approach
I never paint any settings or objects on principle. My artwork involves reinterpretation of certain realities, new experience and new meaning.
I transform my subjective vision of the world into abstract forms without forcing the viewer to see something particular. I offer him to explore the whole as an interrelation between as many as several objects — parts that can widen and move relative to each other without coming into contact but interacting with one another.
My letters
Almost every painting that I make contains some text. Many people wonder what is written there. The correct answer is that it all depends on what you want to read. It is important that the text is painted and not written. It anticipates your mood and perception by creating an illusion of messages.
How does this work?
When you see that something is written, you realize that something needs to be read. And suddenly, a moment later, you reveal an interesting phenomenon — the presence of something unusual and the absence of something usual.
Automatic reading is impossible because these are not real letters but their symbols. You can use them to make up your own story right away or become my coauthor if you want.
Why leaves?
According to the basic rule, leaves and flowers must not be used as leaves and flowers. At first glance, you will not be able to see the leave itself in any painting. Then why do I need it?
Because it represents a certain element of creation that is clear to everyone. It is a little piece of nature, which is personally not associated with us in any way. It objectively exists, like wind, mountains or water. It is alive and self-reliant. Furthermore, it has got hidden vital power and can dictate my mood.
Letэs suppose that I am drawing a certain shape and it is a sunny day, a snowy evening or a rainy autumn night outside. Assuming that I can convey things, the existing state of the outside world will definitely have an impact on my drawing. Just like the rain outside my window, I take a piece of nature in the form of a leaf and shape it the way that I need at this particular moment. I donэt know how this affects the creation of my painting. That information is outside my domain.
I can already create something of my own by grouping different elements — the way I see them — and will end up with a sketch.
For example, I am going to draw an angel. I open folders with the collection of leaves from different parts of the world and find some exemplars. I completely set myself free, switch off my mind and instinctively start to select fragments, which can be used to portray the angel that I want to see now.
Then I display beacons, points and the coordinate system where everything will take place afterwards.
Mystery that takes place afterwards
I put down the paper or the canvas and look at my hand. It starts moving automatically and subconsciously. No matter how many times I've tried to deliberately erase a certain element or move it one centimeter away, the result would be worse. In other words, the first thing that comes to you is real and genuine. I accepted that as a rule.
How do I start my painting?
At the beginning, I generate the desire and start recognizing it.
Then I concentrate on this state and evaluate it in exactly the same direct way that we perceive music. Because we feel music without trying to understand it. We can only feel something and everyone experiences different feelings.
Why does it have to be this particular association, idea or mood? How does this work? We cannot find an explanation.
It works the same way here. After applying several different methods to define the coordinate grid and the tonality, I set myself free and this is when “it” starts. Then I simply capture the feeling that I experienced when something came to my mind.
About pencil shading
It is alive and flows with different speed everywhere. Pencil shading elements represent those areas where I can display nerve, motion and plasticity. These are the areas where I can speed across the waves and experience endless freedom like a surfer.
Black elements
These can only be created with Indian ink. Because they look like a black spot from far away but as you approach and take a good look, you can see something natural and feel that the structure is not homogeneous. And the energy arising from the outer contour of the black, together with its massiveness, power and parameters, resembles the experience of looking at architecture from a distance. We are able to see the architectural complex but not the details.
In that way, black elements can globally organize the entire painting together, provide a certain value and establish the counterpoint.
A simple answer to a difficult question
They asked me many times in my life how to understand that an abstract painting is not random and tell the difference between a good abstraction and a bad one?
Then, one day, I accidentally realized something as I was carrying my painting in front of a mirror. When you look at the reverse mirror image of the object, which you painted deliberately and consciously instead of just pouring paint on the canvas, it always loses the center of gravity. The reason is because our perception is asymmetrical.
I intentionally tested it multiple times later. When placed in front of a mirror, the center of gravity in all of my paintings will be displaced and the painting will not be balanced any more. This shows that it is not random.
Now this is why I need the black elements in my compositions. They make every single part of the painting well-balanced and monumental. And, at the same time, the painting will be able to fly up and soar in the outer space as if it was designed by a good engineer.
Gold and silver elements
These elements can be found in almost every painting. First of all, they sort of make them picturesque, which is essential from the aesthetical perspective. Secondly, they subconsciously refer to something biblical and divine. This is an associative notation. I always try to place them in such a way that they appear a bit sketchy. Instead of making it spotless so that the gold looks simply valuable and precious, I create a delicate flicker that reminds you of something sacred and mysterious.
About jazz, improvisation and freedom
I love jazz. You can listen to the same jazz composition without ever stopping. And every time you hear it, you will discover something new for yourself. I particularly like Thelonious Monk.
This incredible man was able to break a melody down into pieces and recollect them into new worlds again and again.
At some point, I learnt from him how to be absolutely free in my work.
Today I know that I can make the same painting as many times as I wish. And the painting will be different every time.
Such an endless “Pictorial Bebop”. Never-ending freedom...