It was a new experience presenting the movie as a final piece even though I had a physical painting. I consider it as an inspiring shift of the focus from the physical artwork to the process of art-making.
The main character of this artwork is time. Time of my life, which is never coming back, which was exciting and significant for me. But can it be interesting for other people? I am not discussing here the end of the world but discussing the mystery of creation.
This film was shot and edit on the iPhone.
At that point, I was researching Charlotte Prodger and her 2018 Turner Prize-winning film Bridgit.
I like how the artist explains the iPhone as a tool. You can see the breath of the artist through the camera move...
My film contains three parts - inspiration, creation and presentation.
My second most important source of inspiration is Nature (The first is a person.) I try to perceive a person concerning the entire universe. Hence my hobby by Chinese metaphysics. If the sun, for example, produced an explosion of energy, then we will feel this event physically on the Earth. Without the sun, there is no life on our planet, plants, insects, animals - everything depends on the sun.
My dad is engaged in the production of honey in Russia. He often shares stories about bees, about their life and their connection with the entire ecosystem. Bees are the first to react to the slightest energy changes on our planet. They are like a sensitive conductor between the energy of the universe and our world. These insects work without interruption, and this is their life task. I associate this lifestyle with what I do. And their movement, I draw a parallel with the accelerated video of my work.
The process of creation for me begins through the eyes. First, I see, then emotion arises, and the process begins.
With the papier-mache technique, I work with every single piece of paper. Each of them is like a pure colour that I feel inside of me. This process is laborious and complicated, but I do not feel tired or anything because at this moment - I am the colour. I need to work quickly and light because at any second material can tear or lose its shape. But as every emotion can turn into colour, thus it becomes something tangible, physical for me. Therefore, the feeling of the paint in my hands is the most natural sensations.
The presentation of the work, as I noted earlier, has changed in modern conditions. It is not an exhibition in a physical gallery but a presentation on social networks and the Internet. The work is delivered directly to the viewer. Of course, you can suspect my manipulation of the viewer. I introduce the artwork for viewing, music, and this is the exposition of the picture. So what? Isn't a special light installed in the gallery, the right smell spread for the atmosphere, and the consultant tells all the subtleties and uniqueness of the artist and his work ?!
Thus, this film is more focused on the process of creating and curating the work.
My painting is a manifestation of a person's physical work. The material speaks for itself, this colour field is not the creation of a machine, this is not prepared templates, it is a purely physical world.
I work with a newspaper. Sheets of it contain events of the past, advertisements, reports of the dead. There is a transformation of the past into the category of memory. I kind of save history and give it new life. The transformation occurs. Passing by work, one can see small remains of inscriptions of letters, names, numbers ...
Video is the purest tool for communicating the passage of time, storytelling. It moves the space to different cities without boundaries. The video film breaks the limits of time. It integrates not only the creator but also the viewer. With all this in mind, video can also act as a reflective surface. Selfie - turning the camera away from the object towards itself, when the viewer can see the backstage. This is what sheds light on the creation process.
In the film, most often we do not see the creator, but with the selfie, an element of reality appears. The story changes its movement. It ceases to be linear.
My video has a small spot at the bottom of the screen which is annoying and seems out of place. It crosses the screen and goes beyond the image.
This spot looks a bit like a button that you want to move or remove. This one does not belong to the narrative and does not directly relate to the video. I wanted to introduce something that would bring the viewer back to reality. This is not a story or a fictional world, this is just a video on the screen.
And in the ordinary physical world, there is my physical work and me.
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