Spinning powers of imprudence / Vlad Kulkov
Spinning powers of imprudence
Vlad Kulkov is the young artist who is consistently elaborating tradition of an abstract expressionism. Such an appeal to tradition is characteristic of the modern culture transformed the «eternal return» to Nitsshe in idea of cultural pluralism. Kulkov is doing my way, carrying the return is not through the external similarity of order or other historical material, and through its "language" of description. So the artist is handle, for example, not to the works of Arshile Gorky or Willem de Kooning, and to that has become a source of inspiration for the New York School. Making his "Journey to the world of images," Kulkov balances between abstraction and recognizable images, leaving on the way biomorphic "fingerprints", fanciful masks and faces. His images are generated by the fact that André Breton once called pure psychic automatism.
The main means for Vlad Kulkov is a picture, even if he is engaged in painting or objects. Drawing for an artist is a meta-media, a kind of "automatic letter", opened of surrealism and gave rise to the spontaneity of abstract expressionism which so close to him. Bags draws not only on paper but on canvas, often leaving a blank pieces of white primed surface. In his painting coexist two independent spatial layers. In one case, a translucent colorful background, as if the canvas, painted through the colored glass, in the other - swirling "clouds" flying through the picture. On top of this heavenly landscape printed images of masks, "faces", men, reminiscent about ideographic letter, so valued of Barnett Newman. Painting for the artist is this letter, lasting continuously. Characters resembling whether about the traditional culture of the Indians or graffiti, can move from one canvas to another, from one album sheet to the next. Painting is a language that cannot be read by syllables, situated on the verge of recognition/unrecognition.
Language is the main character of the last project of Kulkov. The exhibition's title is borrowed from an article by the artist Jacques Derrida, "Kogito and history of madness", dedicated to a book of Michel Foucault. In this text Derrida shows the contradiction of the conception of Foucault to describe the madness of a language the mind, which it opposed. A book by Jacques Derrida "Letter and differences," the artist took to Mexico, where he went for the study of the traditional culture of the Indians. The fabric of the text, weaving linguistic space is woven into the world of images of the ancient calendar rituals and random pareydoly recognized by the artist in Mexican caves. We can say that referring to abstract expressionism, hieroglyphic signs of the ancient Indians and the history of madness, deconstruction, and the artist reject a Kogito of a modernism gave rise to the representation about the language of painting. Doing laps, he again describes this "whirling" the forces of folly "around Kogito."