Painting
Working with color is probably the most important discovery for me. Not only my work, but also the work of color, the semantic solution of the canvas.
This section includes works with color, oil on canvas and in space, from 1978 to the present.
“City”, mixed media on canvas, three-part composition,
30 x 90, 2023, from the project “Diary of a Moscow Schoolgirl”
Movement. Frame Break’s Project
The series of paintings for the “Frame Break” exhibition in 2011 at the Ruarts Gallery combines the “sketch” nature of painting and geometric forms, which is connected with the main research theme of the project: the possibility of changing the conditions of viewing painting and interaction with the work of art.
“Movement”#1, 130х130, oil on canvas, PVC, 2007
“Movement” # 4 with different configurations of black frames, 130×130, oil on canvas, 2010
“Movement” # 5, 130×130, oil on canvas, 2010
The abstract works that were made in the 1990s created space… I wanted to show that space is not just a connection of coordinates; it consists of layers in which past and future movements are imprinted, it is a kind of crossroads of different moments in life, and its color filling corresponds to the inner feeling, while the concentration of color concentrates also the temporal layering.
Signs of Space. Painting 1990 – 2013
The paintings of the 1990s – 2010s develop the theme of space, which at the exhibition in the Manezh Gallery in 2003 was designated in the title as “Signs of Space”.
“Green Space”, oil on canvas, 125 x 175, 2009
Untitled, oil on canvas, 60×60, 2002; Untitled, oil on canvas, 50×75, 2002
“Oblivion”, oil on canvas, 70×90, 2001;“Twilight”, oil on canvas, 100×120, 2001
“Blue # 1”, oil on canvas, 200×260, 1990; Untitled, masonite, plastic, oil, 120×90, 1991
“Landscape”, oil on canvas, 30×40, 1995, Untitled, oil on canvas, 40×30, 1993; “Twilight # 1”, oil on canvas, 40×30, 1993
“Orange Space”, oil on canvas, 190 x 145, 1993; “Blue # 2”, oil on canvas, 190×145, 1990
“Green # 1”, oil on canvas, 201×140, 1994; “Red # 2”, canvas, 141×40, 1993
Painting in Space
Painting, going out into space, becomes the leitmotif and conceptual basis of most installations of the 1990s. “Signs of space” are displayed on canvas, and, on the other hand, color goes out into volume, space. A collage of several objects can also create a space of color, while photography, focusing on the touches of color, creates its own version of painting.
Untitled, painting in space, wood, masonite,
photo by N. Smolianskaia, 2003
“Blue Space # 1”, mixed media, Polygon-1, 1990; “Red Space”, mixed media, Polygon -1, 1990, Kashirka, Moscow
1. Spatial composition, masonite, wood, oil, photography 2003; 2. “Holes”, experiments in spatial pictorial construction, masonite, oil, mixed media, 1991-1993; 3 and 4 – fragments of an installation of objects with “holes”, Polygon-2, 1991, Youth Palace, Moscow
Painting as an Object
In creating spatial compositions, I used the principle of a constructor, connecting different painting elements. As a result of assembling this constructor, I came to the creation of other objects, with the inclusion of wooden volumetric forms among them. This section presents this series of painting-objects as well as the “holes” series.
“Painting object #1”, oil on canvas, pigment,
wood, 60 x 60, 1993
From “The Holes” series: 1: mixed media, 178 x 122, 1990; 2: mixed media, 124×100, 1992; 3: mixed media, 120×90, 1992
“Diptych with a tree”, oil on canvas/wood/pigment, 130x80x2, 1993
Rhythms of Everyday Life
In 1987-1989, there was a search for a pictorial language that would respond to everyday life: cities, meetings, personal life events (“One, two, three!”), so here the freedom of artistic expression from the direct transmission of the narrative was already being realized.
“Nasha” 75 x 170, oil on canvas, 1989
In the work “Nasha”, there is a complete transition to a symbolic form. Here the interest in creating a spatial solution is also already obvious: “calligraphy” seems to float on different spatial levels, merging into a multi-faceted formal composition.
“Meeting # 2”, oil on canvas, 125×200, 1990;“My Telemachus”, oil on canvas, 140×200, 1989
“Meeting # 1”, oil on canvas, 90×185, 1986-1989; “One, two, three!”, oil on canvas, 120 x 200, 1988
“Poetry and Everyday Life (To Parshchikov)”,oil on masonite, 120 x 175, 1986; from theseries “Road Signs”: 1.” Stop!”, oil on canvas,100×180, 1988-89;2. “Crosswalk”, oil on canvas,100x 180, 1988-1989;“Quarrel”, oil on canvas, 100×120, 1989
Life of Trees
The “Life of Trees” series works with the construction of a color solution for space, solving the problem of preserving the direct gesture of working from life. It is important not to leave, but to approach the sketch.
From the series “Life of Trees”, oil on canvas, 100×110, 1989
From the series “Life of Trees”, 1988 – 1989, oil on canvas, 120×80 each painting
Between Nature and Abstraction. 1987-1988
It is precisely working from life, overcoming nature, that is necessary in order to find the exact color solution, a “color event,” as my teacher Yuri Burdzhelyan used to say. However, if he had a clear connection to nature or “motive”, I experience a change and transformation of what I see.
“Sunny Valley”, 80×120, 1987
“Access to the Sea”, triptych, 140x140x3, oil on canvas, 1988
Portraits. Apartment. Billiards. 1985 -1987
How can one use color to convey complex states, memories, and a person’s character, to show the tension and uniqueness of a meeting, a person’s character? In the works of this period, color layers also divide the plane into different spatial environments that can be imagined as different time slices.
“Mother”, oil on canvas, 50 x 50, 1986
“Billiards”, oil on canvas, 120 x 160, 1986; “Apartment”, oil on canvas, 120 x 185, 1987
Search for Color. Nature and Construction. 1983-1985
The construction of a structure is an important part of painting work. After graduation from the institute, there is, on the one hand, a departure from nature, and on the other, analytical work on creating a structure on canvas. A special tension and connection is created between the visible and the constructed.
“Still life with a vase”, oil on canvas, 100 x 120, 1985
“Interior # 1”, canvas, 100×114, 1985; Interior # 2”, canvas, 100×100, 1985
“House with a tree.Kostroma”, oil on canvas, 100×70, 1984-1985; “Cypress”, oil on canvas, 120×80, 1985
In Search of Mood. 1978-1983
This section could include works painted during studies at the institute, but they vary greatly from one to another in their solution, so more authentic works of this period are included here, as well as the works painted in Tarusa from life, after graduation from the institute.
“Spring landscape”, oil on canvas, 70×90, 1978
“Autumn”, oil on canvas, 70×60, 1983; “First Snow”, oil on canvas, 60×70, 1983
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