Atlas of Extraordinary Situations (AES)
painting and drawing series, 2021 — 2023
A collection of mystical, broken locations and worlds, the places and characters in which are inconspicuous individually, but together form a picture of a world that is shifted and mutated.
Different media used in the creation of this series: oil painting on canvas and large watercolors, are themselves part of the deception of the eye, where one medium pretends to be another. Watercolors acquire a rare scale for this medium, while the oil paintings possess an unusual fluidity and transparency. The theme of fakes and changelings is also unraveled through animals frozen between the worlds of the living and the inanimate. Such an animistic vision, encountered, for example, in ancient Japanese and shamanic cultures, is common for ancient cults, from which evolved well-known fairy tales with their archetypal characters and locations.
The environment becomes an actor in two key ways: crazy huts and unknown technogenic structures are combined into one universe, each having its own prototype. A strange design similar to flying saucers, against which the events of the series unfold, is in fact a cascade of transformers of the Arkadiev—Marx pulse voltage generator (Istra, 1967), built to artificially create lightning inside coils. Like any project of a Soviet research institute, the coils act not only as an artifact of the legacy of the Cold War, but also as a source of the “Soviet incredible”.
The theme of mapping, collecting individual scenes into a kind of “Atlas” is reflected in some of the names as well. For example, “Virgo south of the celestial equator” is part of coordinates for the constellation Centaurus, while the designation “0°50' to 6° below the horizon” is part of the scientific definition of civil twilight. Contextless phrases and linguistic ready-mades of the scientific environment set the planetary scale of what is happening, transferring the youkai of suburban Moscow to somewhere in the starry sky.
In the “Atlas”, interrupted space-time threads turn into a tangle of recognizable yet never-existing storylines of human rumor, legends and conspiracy theories.
Hut and forest. Neophyte consumed by the maw, 2023
Oil on canvas / 160 cm × 180 сm
A spark discharge, 2023
Oil on canvas / 150 cm ×100 сm
Group stand of Sistema Gallery at Cosmoscow' 23 (together with Samuill Marshak)
Sistema Gallery ©️ 2023
Fragments of the series
(Click to enlarge)
Alternative Methods Of Locomotion
A specific instance of the Atlas of Emergency Situations (ASF)
mini-series of paintings and graphics, 2023
A series of paintings and graphics that unfold a number of situations set around Soviet radio telescopes. The characters of “Case No. 2”, “Case No. 34” and “Case No. 11” are not only people with bundles of dogs, but also telescopes of the Pulkovo and Kalyazinskaya Observatories, as well as an antenna with the gentle-sounding name “Chamomile” of the Cosmonaut Viktor Patsaev research vessel.
The groups of people and dogs have different dynamics, from a complete visual similarity between the tension of a dog’s leash and the tension of antennae in a radio telescope to a more relaxed one, as in Case No. 11, where the female character carried into the sky resembles Dorothy from The Wonderful Wizard of Oz, swept up by a hurricane.
A huge number of radio telescopes (about 20 compared to 1-2 in other countries) built during the late Soviet period, appears not only as an artifact of the legacy of the Cold War, but also as a source of the “Soviet incredible”. Telescopes are examined by the artist as the cause of mutations and distortions of space. Like Dorothy, the characters of Kugush would prefer to tap their shoes twice and find themselves in the regular flow of time, but they cannot, and instead have to adapt to alternative methods of locomotion.
Group stand of Sistema Gallery at Contemporary Istambul 2023
Photo: Sistema Gallery ©️ 2023