Cold, 2021, paint, spray colours, paper on hardboard, 140 x 80 x 15 cm.
Synaesthesia was a discovery for me. But with the passage of time and the study of additional materials, I realized that this phenomenon will not make me a great, and professional artist.
Firstly, in order to express what I feel, I need to gain rich experience in relation to making a visual image.
Secondly, except for me, such an experience of colour is not available to others. This experience is unique, and therefore few people are willing to know about it more. This is not an all-encompassing problem of death and love that everyone wants to understand, but an individual feature of several people.
What might interest others?
It seems to me that after all, art should be socially useful, and it is not enough just to produce cute decorative paintings or unpleasant, shocking digital installations.
I wonder why Vincent Van Gogh, Pablo Picasso, Frida Kahlo, Claude Monet, Henri Matisse, Jackson Pollock are some of the most famous artists? I think because they talked about big things in simple terms.
It was not a language of disgust or confusion or provocation, it was usually a bright, positive colour, beautiful form and always personal involvement of the artist's life in his works. It was a kind of Instagram at the time. Artists created visual images, showed them to the public (if, of course, they were lucky to do it during their lifetime), and viewers, in turn, put down likes.
How many people, compared to previous artists, have heard of such great and talented artists as Shishkin (he was very green and very Russian). Who has heard of L. S. Lowry (he was very monotonous), Hannah Wilke (extremely conceptual), Trevor Grimshaw (no colour) or Nam June Paik (very tech artist)?
Therefore, to use synaesthesia as an advantage, I need first to go the long and difficult way to form my own language and values in art. Only after that, probably I would have a chance to implement something from this phenomena.
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