№42 from series "Lingerie".
Artists | |
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Year | 2019 |
Material | Oil on canvas |
Size | 60 × 70 cm |
The paintings in this series are executed in the artist's characteristic manner, clearly referring to the small Dutch artists - especially to their still lifes. Peter shows a special interest in everyday, at first glance, unimportant objects. The deep black background plays a significant role - it is what creates the necessary optical effect, thanks to which the objects, on the one hand, are framed by this enveloping emptiness, and on the other - are brought to the forefront in the fullness of their selfhood, their presence, their being here. In the works themselves, it seems like nothing is happening, but in fact they document the presence of things in themselves, their life as separate particles of a single world.
The obsession with the image that suddenly arose in a dream prompted the artist to create paintings that extremely realistically capture thin translucent fabrics, the folds spreading over them, the play of shadows and shades. The series is in many ways reminiscent of a fetishist's gallery, maniacally pursuing the object of his morbid desire - flesh-colored nylon stockings, lace bras, petticoats and slips are captured in their naked fragility and shamelessness at the same time.
The sensual, depicted by Shvetsov as a sign in the form of women's underwear, at first puzzles the viewer, confuses with its frankness and straightforwardness, at first it is awkward to look at it, to examine these almost intimate transparencies and folds. But, like everything forbidden, usually hidden from curious eyes, it attracts the gaze and makes you slide your gaze over the silky and lacy surfaces again and again. Gradually, the sensual in this series of works is transformed into an image - the sheets, almost brought to abstraction, strive for the edges of the canvases and conceal the same folds that excite the eye, and the white spreads into many other colors and shades: from cold gray to warm pink. The beauty of the writing, the detachment of the depicted objects, their manifest sensuality fascinate and repel, even frighten - through them we meet ourselves. Because the things captured by the author and the way these things are captured contain the gaze of the beholder - what we see has long been looking at us.
Text: Lizaveta Matveeva.