It is customary to examine a material object from one angle, or, if it is viewed from a different angle, in consciousness it often remains the same object due to the inclination of our mind to imagine everything in a sensual and visual form. In reality, it turns out that the object itself is abstract. It has no clear boundaries and at other angles looks completely different, as if losing its materiality.
In the project "Diary 1111" the main subject of artistic research is the Uktus mountains, located in the immediate vicinity of the Shishim hill area in Yekaterinburg. The task is to show different points of perception of the object not only by visual, but also by spatio-temporal methods.
A month of work in an art residence is a certain diary of stay with abstract experiments in the search for angle. Every day - a new layer on the canvas, a new angle. Four weeks - four canvases.
Сanvas №1
"385" (layer №1)
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The absolute height of the Uktus mountains is 385 meters. On canvas, they are converted to an absolute quantitative value - 385 strokes: from a blank canvas to the completion of the first layer.
"μορφή" (layer №2)
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Morfe - form. Form takes place through its loss. The wood turns into paper, and the resin into turpentine. In search of form, physical bodies are represented by paper volumes: forest cover is interpreted through them. The image of these becoming forms returns an endless loop to the subject of study - the Uktus mountains.
"РСР 6,35" (layer №3)
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PCP rifles. Caliber 6.35. 2 girls. Picnic. 10 pm. 2 shots. The bullet trajectory is an abstract line drawn in black and red. This is the story of the tragic death of two girls on the Uktus mountains.
"-155mln" (layer №4)
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155 million years ago, continents formed, plates moved, mountains appeared.
The Uktus Mountains come from the Jurassic period, peers of dinosaurs. Therefore, their images: skulls, ribs - make up the next layer.
The Uktus Mountains come from the Jurassic period, peers of dinosaurs. Therefore, their images: skulls, ribs - make up the next layer.
"13,6 km" (layer №5)
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13.6 kilometers - the length of the route traveled by the artist on the Uktus mountains. Random
a path whose sole purpose is to experience involvement in the object of study.
Slopes and descents, forest, deep snow - this is a digital footprint within the local ecosystem.
a path whose sole purpose is to experience involvement in the object of study.
Slopes and descents, forest, deep snow - this is a digital footprint within the local ecosystem.
Сanvas №2
Yellow snow (layer №1)
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The layer of the physical interaction of space with the canvas indicates a constant involvement of a person. In winter, the mountain is covered with snow, people often color the snow yellow. Snow soaked in urine was laid out on the canvas, melted on it and left its mark.
Green stone (layer №2)
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Layer - appeal to geology. Uktus mountains are composed of massive crystalline rocks
gabbro, peridotites and dunits. Gabbro is often used as tombstone
structures, peridotites and dunits are laid out to maintain heat in baths and saunas.
Conditional images of these functions - crosses and brooms - make up the painting layer.
gabbro, peridotites and dunits. Gabbro is often used as tombstone
structures, peridotites and dunits are laid out to maintain heat in baths and saunas.
Conditional images of these functions - crosses and brooms - make up the painting layer.
Blue splash (layer №3)
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Layer of random action: paint dropped from a mountain falls onto the canvas at random. So you feel the height, movement, energy.
Black vandalism (layer №4)
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Turning to geological time returns the artist to the beginning of his career -
graffiti. So, the fourth layer of the canvas is graffiti, which combines
Reflections on the beginning of the path and on the drawings of the walls on Uktus.
graffiti. So, the fourth layer of the canvas is graffiti, which combines
Reflections on the beginning of the path and on the drawings of the walls on Uktus.
Colorless Composition (layer №5)
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The minerals that make up the mountain can be seen under a microscope. Enlarged hundreds of times
they turn into an intricate, but colorless ornament, hidden structures. One of
such structures transferred to the canvas.
they turn into an intricate, but colorless ornament, hidden structures. One of
such structures transferred to the canvas.
Сanvas №3
SOUND (layer №1)
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To understand how the object of study sounds, I recorded the sounds of the area on a voice recorder. Having digitized them, I saw the movement of waves and got a modern sound. These manipulations with sound became the basis for the birth of a sensual visual image of the sound of the area.
INTUITINENESS (layer №2)
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A layer that appeals to Theosophy and esotericism. Mountains often became and are becoming the habitat of spiritual teachers. The works of Nicholas Roerich are widely known, but there are other "gurus" who urge to practice "automatic writing" or "automatic drawing." An example of this technique is shown in this layer.
PENETRATION (layer №3)
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On one of the hills of the Uktus Mountains is the Slavic Sanctuary of God Perun. It is an active sanctuary in which Old Slavonic ceremonies are held in honor of the god Perun of a certain community reviving the customs of the Slavic priesthood. Perun is the Slavic god of thunder and lightning. As a sign of penetration into the secret sanctuary, lightning and ultramarine appear on the canvas - the color of Perun.
CORROSION (layer №4)
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The rust texture is recreated on the canvas, which refers us to the origins of the urban history of the Uktus mountains, the times when the ironworks that gave rise to Yekaterinburg worked there.
INACCESSIBILITY (layer №5)
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The final layer reports on the fundamental unchartedness of the object. An array of black appears on the canvas - again and again testifying to the fundamental inexhaustibility of the process of understanding the object.
Сanvas №4
PRECIPITATION (layer №1)
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An attempt to explore the mountain is one way or another appeal to a natural object. The little that remains of nature in urban life is the weather forecast. In the next layer, I transfer to the canvas a heatmap of the precipitation of the area, taken on a weather radar on the day the canvas was created.
ANTIPODE (layer №2)
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Every place on Earth has an opposite point. The coordinates of the point diametrically opposite the Shishim hill are 56 ° 46'11.8 "S 119 ° 20'56.9" W. It is located in the South Pacific. The marine relief is conventionally depicted on canvas.
POST PERCEPTION (layer №3)
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The artist paints mountains or the way I express them through points of knowledge. The viewer passing by the residence sees this process through his prism of perception, thereby imposing his understanding on the object of study. The artist imposes the drawing process and the process of perceiving the viewer on the paint, later the viewer returns to his process, but with a different understanding.
DUST (layer №4)
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Dust and industrial waste deposited on the walls, on the leaves of trees that filter this air, make up another layer of understanding of the highlands and another layer on the canvas.
MAGIC MOUNTAIN (layer №5)
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Metaphorical possession of the object of study, the desire to conquer it, its fetishization brings us closer to comparing the process of cognition with sex. Pose 34 - The Magic Mountain.
