The overarching idea of the project is related to notions of the living and the dead. The triptych,according to the author’s conception, is ‘dead’ painting, it’s a detached registration of things, whereas the multitude of tiny canvases within distinct lines and spots forming a vague picture is ‘living’ painting. The dominant rusty brown colour is an imprint of blood. One may use the term from dentistry — ‘occlusion’, to describe the way the paintings make reference to and link to one another.
There is a symbolical origin to all of this, a necessity to restore the connection of the world with itself. Contemporary art with its variety of forms allows the artist to operate with different practices, objects and meanings and touch on religious ideas: video, light-boxes made from dental models (stem cells of the soul, monads of a sort) bearing resemblance to objects of religious worship, are baroque Catholic macabreà la Hirst, realistic and abstract painting, and to cap it all, an installation work with space, representing an attempt to create an integral emotional experience in order to reconstructone’s own inner world, and create it anew.
Gleb Ershov
