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Artist’s statement

At the beginning of a personal project, I identified my own problem - I include too many problems in one work. After which I tried to focus on only one issue and develop it. Throughout the course, step by step, I went through objects that I did not notice separately: a jug, an apple, a bookshelf, light, a cloud, a house, a tree, and finally a man. For some reason, I could not before separate a particular object from a number of other similar ones. But the course guided me, in stages, and this allowed me to get used to making out the main thing and discarding the unnecessary. I don’t know how much I showed it in my last work, but there is an understanding of this. In fact, I started working on the course in June 2018. During this time, I learned how to create work on the iPad (which I did not do before) and combine them with analog drawings, started mixing materials and at the moment I have mastered working with video, photography and projection.


It was invaluable that I understood how to look at other artists and how to learn from them. For starters, it was important to determine what I like and what not. The article How to Be an Artist by Jerry Saltz brought more clarity to the process:

Lesson 12: Know What You Hate
Lesson 3: Feel Free to Imitate
Lesson 11: Listen to the Crazy Voices in Your Head
Lesson 28: What You Don’t Like Is As Important As What You Do Like
(Saltz [online])

I reflected the lessons from the article in order of importance to me. I really analyzed a lot of what I don't like. I do not like unmixed paint, academic painting, kitsch, Instagram, manifestations of homosexuality and dirty feminism. I prefer abstraction, bold, emotional lines, color depth and digital work. But I learned to be open to "mine not."


I studied by artists such as:

· Kazimir Malevich - how to highlight the main thing and remove all unnecessary

· Pablo Picasso - how to change and transform

· Wassily Kandinsky - how to be true to yourself, listen to an inner call and how to work with an abstract composition

· Joan Mitchell - how to show emotions in abstraction

· Cy Twombly - how to search and build composition in abstract work

· Franz Kline - how to love

· Morita Shiryū - how to show the beauty of one line

· David Hockney - how to be academic and modern at the same time

· Petra Cortright - how to use digital art

· Tracey Emin - how to be a provocateur in art

· Jenny Saville - how to be a mom and a professional

· Albert Oehlen - how to build 3D volume in abstract work

· Matthew Stone - how to use old material in a new way

· Katja Novitskova - how to build a theory for your work




It may seem strange to choose a theme such as a portrait for the final work, when, as I always said, I prefer abstraction. But for me this is quite natural, since the first, I was always sure that the trees, mountains and everything else would remain that way for billions of years, but the person only for several decades. Therefore, man is what makes this world - the World. This subject remains my main interest. Second, a portrait requires figurativeness, and combining figurative and abstract is a big challenge, which I like. Great examples of this combination for me were Franz Kline and Malevich.






Opustena by Franz Kline [Painting] At https://curiator.com/art/franz-kline/opustena (Accessed on 25.09.09)




Woman with Rake (1932) Kazimir Malevich. Oil, canvas 100 x 75 cm. State Tretyakov Gallery, Moscow [Painting] At https://curiator.com/art/franz-kline/opustena http://www.k-malevich.ru/pict/woman-with-rake.html (Accessed on 25.09.09)




During the course, I experimented with digital drawing, but, as I have said, I lacked materiality in digital drawing. Therefore, the solution for me was the combination of analog and digital. Thus, in fact, it turns out that the work exists but as if by half. The drawings physically hang on the wall, but it is not revealed and its potential is not shown. Until a person is involved in the process.


“Embed thought in material.” — Roberta Smith

You enter the gallery and see gray works on the gray walls. In Moscow for 9 months there is no color, only shades of gray. Therefore, I took my "favorite" color gray as the basis of the color scheme. The works are highlighted only by a frame so that the viewer can distinguish where art begins and ends, or question this borders as he will participate in f drawing on the third image and will see that frame is not an actual border.


Where are the borders of the virtual reality? The subject of these works is ordinary people. What happens to the projection in these works is fiction, fairy tale, story, poem, everything that people create for ... why do they create it actually?


I see this work as an interacting art piece with elements of theatre, poetry, real life and digital technologies. Where the simple subject matter revealed with full context after viewer experienced all the process.







Bibliography and references


1. VULTURE GUIDES NOV. 27, 2018, How to Be an Artist By Jerry Saltz [online] At https://www.vulture.com/2018/11/jerry-saltz-how-to-be-an-artist.html (Accessed on 25.09.09)

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Reflection on Tutor Report

Thank you so much for your constructive feedback. «You have demonstrated a consistent and effective command of materials throughout the course and shown good technical and creative skills» (OCA Tutor)

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