Swimming Pool / Alexander Dashevskiy

Alexander Dashevskiy

Swimming Pool

16 Oct - 21 Nov 2009

Tradition of transfer of  water's density and light going through it in classical painting: what can be pleasant for an eye? Alexander Dashevskiy wants to seem the devout continuer of this tradition: he says, that he works in «New Severe Steel» From heart of academic figurativism Dashevskiy tries to find returning in abstract painting. Other words, almost photo transferring «A visible reality», hardly passed through the academism, all this disturbed tile and plastic paths, he tries to be engaged in a neat job with the form.

Actually, he really concentrates only on geometry and colour shades. As a result of  his research - with a brush in hands -in a water surface turns around a spectator's problem:  spectator can not find a distance from which it is necessary to consider canvases. Figurative from apart, they are abstract close, and the border is so wide and indistinct what to grope it  isn't impossible. There is no set «points for viewing» here, there is a set of lines on which it is possible to move - that more close to a picture, further from it, - again and again worrying a birth and intensity dying between figurative and abstract as own drama between modernism abstraction and classical feelings. In rigidity of this contrast also there is Dashevskiy's Severe style, its irreconcilability in relation to the visible reality which destiny for it is unequivocal: to be spread out to the elements, catalogued and transferred on a canvas. Dashevsky is far from advances with a reality: it is placed of them in the service on sharpening of picturesque style. «Near these pictures it would be desirable to stand and keep silent»: this senseless cliche which is so often said about  painting, is absolutely inapplicable to  Dashevskiy's «Swimming pools». In search of a comfort point at their presence it is necessary to go - either to float, speak - or  shout.

Fixing «the new past» In his severe figurative-abstract canvases-formulas, Dashevskiy aspires to suspend a future impact, to minimise its intrusion into daily occurrence. So therefore its works infinitely full of nostalgia, it are disturbing, painful and intolerable are touching to embody devoutly in the aspiration life as that. Dashevsky appeals to feelings of the lonely spectator, making for it tet-and-tet the unique experiences and suggesting it to master and appropriate them, to make these experiences one's own. This revelation hypnotises the spectator, and Dashevskiy continues to create for this purpose all conditions.

Dmitriy Ozerkov