On August 7, my personal exhibition "Crossroads" will open in the exhibition hall of the NGHM/Art of the 20th Century, Nizhny Novgorod, Minin and Pozharsky Square, 2/2
For me, a crossroad is a universal model of the world, where in the original chaos the horizontal and vertical suddenly meet. Intersecting, they give each other amazing power, their synthesis gives birth to the first harmony. Thus, trying to comprehend this world, a person drew a horizontal and a vertical, created a starting point for mastering this world. The horizontal is a material reality, this is what we can see and touch. The vertical is a spiritual reality, this is culture, religion, philosophy.
The very idea of a crossroad contains a certain paradox, which creates many dual and diametrically opposed meanings. Convergence and divergence, separation and unification, meeting and farewell ...
A crossroad is not just an intersection of paths, it is a crossing of the path. At the fork in the road, opinions, worldviews, we make our difficult choice every time. In all its hypostases and meanings, a crossroad is a sacred place, carrying both a positive and a negative charge. It is no coincidence that since ancient times, crossroads have been considered a dangerous place, a place of abnormal concentration of dark forces. Many peoples associated the possibility of direct contact with the forces of the underworld with the crossroads. The place where the choice is made between good and evil became an arena for the struggle of dark and light forces.
The graphic symbol of the crossroads is the cross. Initially, the cross denoted the intersection of the lines of life and death at one point and only much later became a solar sign, and then a universal symbol of Christianity. In its meaning, the cross combines the symbolism of earth and sky, the connection and interaction of the lower and upper worlds. The traditional intersection of height and breadth in the Orthodox tradition is complemented by another intersection, symbolizing the idea of a four-dimensional space, in which, in addition to length, width and height, there is also depth.
Therefore, it is no coincidence that the crucifixion has become one of the recurring themes for me. This is how a whole series of works on the theme of carrying the cross appeared. Initially, I tried to understand for myself what a modern icon might look like, painted not according to the canon, not on a board and not by a monk. I wanted to see the majestic in the simple, the ordinary, the everyday. To see His face in the crowd, to notice His mournful figure out of the corner of my eye, flashing between the rushing streams of cars, or to freeze, looking at Him in the rearview mirror. This is how the painting "Against the Current" appeared. First of all, I wanted to emphasize the impossibility of what was happening from our usual point of view. The cars in the painting are positioned in such a way that a collision should occur in the next second. But at the same time, we see that it has not happened yet. That is, either this phenomenon has just arisen, it is momentary, like a flash ... Or, on the contrary, this figure is moving in eternity, and all these cars, roads, bridges exist only here and now.
The crossroads frighten and attract. Frighten because it calls for renewal, for a change in the usual way of life, for global changes in life, and along with them for inevitable losses and losses. And probably in the same way it attracts us, through the fear of the unknown it opens up new paths and opportunities. Here, at the crossroads, the wind of wanderings, new unknown roads and discoveries tosses and calls us. And here we come every time, repentantly returning home. Everything is decided here, and every time the choice is ours…
