Exhibition - Chișinău, December 5–15, 1996, “25 Years of Creative Work”
In the process of the development of human society and its culture, aesthetics-that is, the sensory perception of the surrounding world-also changes. Along with overall progress, the range of processes and phenomena in art that become objects of a new aesthetics, a new culture, and new concepts expands. Certain interrelationships exist between art in practice and theoretical tendencies (setting aside the influence of ideology). A process of evolutionary change and the emergence of a new aesthetics, a new art, is under way. Creative work seeks its new concepts and definitions, taking into account the factors of dependence on and pressure from former styles, in order to manifest itself in the near future through a new intellectual development, in a new category. At every stage, one must analyze and avoid naturalistic copying and the traditional construction of a work’s scenario in one’s creative practice, returning each time to the beginning and starting with the search for new forms and solutions. Every new work should contain a small element of inventiveness, ready to multiply in subsequent works. The visual reproduction of the surrounding world must be reformed in accordance with the times, just like the changes in our lives. It is interesting to turn to unexplored paths in art, even if they are synthesized. To follow instinct, immerse oneself in non-objective forms, and then overcome and transform them into static elements that associatively remind us of the world in which we are present, spontaneously continuing to find connections through which space flows into light, form into texture, and texture into poetry. The author creates works that combine several forms of art: architecture, sculpture, painting, and music, attempting to approach the problem of creativity synthetically, like the masters of the Middle Ages. Breathing the world of symbolic archetypes into creative work, studying and interpreting them in his own way, and drawing inspiration from the work of Leonardo and Bruegel to Gaudí, Lissitzky, and Picasso, the artist attempts to liberate the subjugated creative intellect, to attain freedom of subject, personal power of perception, consummate mastery, and a sense of the world. In developing the three-dimensional frontal space of paintings, one must constantly keep in mind the dialectic of the accidental and the law-governed. The analytical destruction of form (the plane) is capable of creating a new, unknown configuration possessing diverse possibilities for emotional comprehension. In this flow, it is difficult to understand the impulses of morphologism, difficult to trace the archetypal and cultural methods of the work and the intellectual and psychological processes of the human being. The construction of the narrative composition is characterized by the use of free reconstruction, multiple viewpoints and turns, individual illumination of each image or form, variations in scale, and simultaneity-that is, the combination on the picture plane of images, each of which exists in its own time. It is characterized by the use of polyphonic connections-constructive, thematic, and compositional-with the application of multiple interdependent relationships, such as linear, textural, and chromatic ones. Technique is a fully fledged component of the work, alongside subject and composition. It is necessary to achieve the illusion of the complete fusion of form, light, color, and technique. All this distinguishes a work not so much by its manner of execution as by its sense of the world, subjective interpretation of the subject, and unconventional figurative and visual thought. This applies to any themes, subjects, and movements, from neorealism to abstraction, from primitivism to applied art.
