| During the recent years I make repeated attempts of painting on the subject of human suffering. Ten thousand people from my town in Russia including my grandmother's family were shot during the first days of World War II.
My work is about the struggle of time and memory. Art bears a responsibility to create memory. I am convinced, however, that it also bears responsibility to create memory.
Time and space. These words are very important for me. In many ways, my work is an attempt to resist time. All we have in our struggle against time is memory. In he presence of memory, time learns the limits of its power. Memory reduces time to the stature of reality that we have to deal with.
For me space has volume. Voids have volume, like objects. They have form and are as concrete as objects. Space is alive. Space is dynamic, space is imbued with movement expressed by forces, space vibrates and resounds with color, light and form.
I am interested in how the same object, changing in shape, size and texture, remains unchanged in its essence. Its effect on people and people's reaction to the object remain unchanged. Hence my limitation in terms of object (box).
I want my painting to be almost indecipherable, as if the viewer were inside the painting, in a state of confusion. I cover the entire surface with layers of black and white paint - sanding down the surface and repeatedly adding more layers - until the surface, the image, and the paint are one. I finally reject my old palette in favour of different hues of black and white. It seems to me, the physical energy of the line and the impulse of the brushstrokes and finger marks, which erupt in a torrent of marks and gestures born on a foam of white paint, give the entire work its dynamic force. I use the paper because the paper possesses qualities which are useful when evoking a sense of memory.
I try to show a different conception of the artist's function and the relationship between the artist and his work. Very important for me a real value self-participation in the making of the work of art. I "make" this work. I find thereby identify the picture as closely as possible with my physical act of painting.
I want to show various conditions of the material. This depends on the space, on the mathods of application to the canvas, on the size of the surface that it occupies. And at the same time, to show the invariability of the result, its effect on people.
|Jeremiah's Lament series|