Object from "Return to painting" series

Self-reflection, art about art – an inexhaustible genre. Its ontological properties, like a person’s desire to understand what it means – an endless conversation.

From the very beginning, the author’s idea, an attempt at a story about a cloud of images, a cloud of time, failed. The idea of ​​a detailed personal narrative generally contradicted the general line of the artist, who prefers a laconic and detached language.

An appeal to classical art, a broken core or spine, is present in the form of a deconstruction of a universal religious plot (concrete glow), and empty frames on the wall, like ghosts of the past, stare at the viewer with blind eye sockets – partly asking whether he sees the disappeared plots in them. Such a game, art that has outgrown the frame, is not a new theme (“the paintings will be brought tomorrow”), but an important one. Where did art run away to and when will it return to where it should be?

The modern viewer is ready to encounter art anywhere, so the artist's return to tradition is a natural step. The right turn, the return to the painting, as if having performed a modernist somersault, makes this exhibition jubilee in meaning. The state of the author, having moved away from youthful experiments and returned to the classics, is perhaps the only preserved biographical moment.