Painting is a spectacular form of art. However, its spectacularity is similar to subsoil filled with forces not associated with the spectacular. One of the main forces of these series is the force of interval or distance. The distance should not be perceived as some universal principle, as something self-evident, as a «visionary distance» from something falsely manifested, for example.
The imagery of these series are documentaries of experiences. “An object above neighbors’ house” (2018) is a documentation of experience of a human who saw this object above my house in summer 2017. Beside this canvas is my drawing made in 1988, on which you can also recognize a certain figure “in the sky”.
It is not the work of two separate objects, between which the distance can be placed like a third content: as a rough chronology, as an instant flash of the void or even an abstract communicative node. Distance, which I’d like to talk about, is the ability of semantic image to become. The ability of two images to assert a common sense, without having a single identity, nor time unity, nor quoting each other. Remarking that I don’t see the arbitrariness here: the images cannot be anything to become linked. The life reality has no substitution, what became a case of such a formation – has become it. It is not the image emitting the emanation of presence that interests me, it’s the emergence that creates the self-defined procedure, requiring to be noticed.
The way the distance-emergence has been formed is reflected in the specifics of our human relations. At some point, shattered the silent habit of talking about individuals as forced to isolation entities. Going back to the thought: was it me – who drew this picture in 1988? To be more precise, was it just me?