After the completion of the third part, I was unable to switch completely to the figure of a person and, by inertia, continued to work on small works.
I tried to build a rhythm and interpret Frank Stella. From the point of view - "just paint on canvas." I was interested to see whether a hint of perspective and three-dimensionality will appear in my method, if I use the approach of Stella. Intentionally left by places not painted over were supposed to enhance the understanding that this is just paint on the surface. But in fact it turned out that this particular space creates volume and intrigue. Interestingly, the picture is the same, the solution is different and the result is the opposite.
Another work struck me with its fullness. When “building” this figure, I revealed the main line and put all the others into submission to it. Thus, the plot appeared and the figure became complete. Since I did not use the color on the wood, this colour was the reflection from the fluorescent thread.
In the next work I wanted to interpret the puddle. The color of the water from the blue sky was incredibly deep with an incredible variety of complementary colors. I conceived this work on the floor to enhance the feeling of the reflection of the sky. I chose a heavy board, massive screws - like earth and trees. The first work for me was not harmonized, but the game of lines and their structure lured me.
In the meantime, in the span of this work, I tried to place a single line on a flat surface and see how the color of the line and the base can be aligned. And again, the shape was interesting, but the game of the colour did not work, I think because of the incorrectly chosen material - the piece of wood had a structure. But my lively mind played a bad joke and turned a Hen. And, it seems to me, it turned out well! Live, in motion, it is filled with emotion. When you change the light and position in front of the work the Hen changes the mood and dynamics.
Embedding colors in the already created form seemed to me unconscious conscious. I deliberately built a composition of lines, but the silhouette of the Hen came after that - Pareidolia.
I applied “the Hen” method to my previous work. Redesigned picture became clearer and more dynamic.
Several works with a landscape.
Here I experimented with building a line as part of a recognizable plot. For an understandable form, nails and screws need to be planned, but if this is an arbitrary set of circumstances? I threw the nails and screws several times on the floor and noticed that they were somehow always combined and grouped. In the work with a view of Frankfurt, I did just such a manipulation. I liked the result because it is opposed to the basic rhythm and painting, but according to reviews of people not involved in art, this is confusion and destruction of the idea, with which I actually disagree!
A few more samples of the form and work with color.
Here an important conclusion for me that I do not want to go away from the color and work with oil. Juicy and vibrant color gives me more emotions than the color created by the secondary object.
For example here
Color not everyone understands and sees, but everyone feels ... or is it also acquired?
To complete the idea, I formulated an artistic approach to my work.
Colour is the greatest pleasure for me. But it was always interesting where the colour disappears at night? How can I get it back? So I started experimenting with the light. After all, icons or frescoes were painted by candlelight, and we see them under museum lighting. In my opinion, this improvisation changes perception. If we want to see the original, we need to see it under the terms of the creator. And what will happen if you change the type of lighting?
And here it turns out that a person can perceive not all of the existing light. For example, according to the spectrum of perception, ultraviolet rays stand between the X-ray and the visible light spectrum of a person. The ultraviolet range “black light” remains invisible to the human eye if it is not reflected from a special material.
This physical fact seemed to me extremely similar to the interpretation of the Russian Icon and light. In fact, in the icon, the light is included, but not everyone can feel and see it. To do this, you need to grow spiritually, to acquire knowledge of a kind of movement in the direction of "x-ray" - viewing the person from the inside. Therefore, light plays for me the role of not only a physical assistant in recognizing an object and its colour, but also a spiritual one. Spirituality, in my opinion, is the only thing that can distinguish us and counterpose to artificial intelligence. In particular, when the world moves into a virtual world which devoid of any spirituality.
In addition to light, the point and line is an essential beginning of a work of art. I see this as a legacy of the Russian academic school. The line today has become for me a kind of logic, geometry, prediction, construction. In my works I use nails and screws as a starting point, the beginning is the point’ - is a top view, and then a line appears. It connects and separates, builds and destroys, it is not flat, but in space, it is a connected world of figures and systems. I try to exclude recognizable figures or leave only a hint at them since this additional information interferes with pure perception.
Lines and colour are what creates the world for me, and the light helps to let it into the soul. Power lines, fences, lightning, trees, snowflakes and various other things - everything consists of lines. These lines are endowed with colour, like the shape they create. But if there is no light, then there are no lines.
What is a possible future for a man - artificial biological intelligence?! We can create man with supermind and superpower. Since, on the one hand, we are subject to precise algorithms and it is possible to calculate and recreate our every emotion. But, on the other hand, our spirit and the ability to create art cannot be accommodated in the algorithm. How can we differ from artificial biological intelligence? By unpredictability? By spontaneity?
To recreate the algorithm, I use screws and nails in the wood, as this is the initial material for construction. This creates a pattern for the line. Whoever attaches the lines will always be in the order of the nails.
In contrast, the abstract-expressive technique interpreting the landscape as opposed to calculation. A person and an artist can adapt to the algorithm and act according to its laws, but I believe he can go beyond the limits of the algorithm.
To complete the work, I use daylight together with ultraviolet light. The work will change throughout the day. In the morning, the pictorial technique will dominate, but at dusk, the fluorescent colours will come to the surface. This play together with the different materials oil and acrylic creates a digital effect.
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