[amalic]

Сообщение от gans

I'm not interested. Maybe tomorrow someone is interested in your translation. I wonder what a person thinks posting such material .

That translated into Russian. Sorry, but the first publication in Ukrainian (intended for publication in the Ukrainian edition).
Industry attraction Alexei Malik
(interview with the artist)

Alex Malik gravitates to compile a lyric-epic works, the plot, but the language of his paintings is difficult to translate into the language of words. His language - moving expression of contrasting colored spots and lines, spontaneous transitions from the objectivity of abstraction, impromptu and metamorphosis plastic letters, the explosion of personal reflections and a surge of arbitrary associations, more and more nuances in the values of well-defined concepts. His paintings are marked restrained composite construction, the intensity of local color, accentuated decorative, sometimes resemble cartoons, stained glass, tapestries, sometimes, sometimes a series of colored linocut. Research plots his creative movement is not so much the portraits or typical circumstances of a particular action, as your drawing interpersonal relationships, the nature of relationships between them. Creative credo: "The subject of my attention in art - a man and his environment. Priority is given to internal content of external ... "- Describes a humanistic orientation of his creative research. We met in the artist's studio at the end of his solo exhibition at the Odessa Art Museum (February 2009).

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Vladimir Kabachenko: Alex, your show is called "In the sphere of attraction", with which it is connected?
Alex Malik: You can track several aspects. First, it is images that are attracted to each other, images that communicate. This, of course, love. Apogee attraction - love, the force that attracts people to each other. Secondly, it is the images that are close to me personally, to which I gravitate. All the works that brought to this project, all the images in any way connected with this power of attraction, it could be a man and a woman, it could be everyday objects, between which there are such links, this and other subjects, in which the subject was development and extension ...
VK: And every time mutually?

AM: No, thanks, that prompted. Subject reciprocity was important for me some time ago. All the pictures I experienced directors, I almost did not write àáî from life, for me this is not enough, it is important to me the impression of nature, the thoughts that occur to her about it, these experiences lead to a transformation of the image. So it was, I wish that these images were bright, these relations are harmonious, the mutual attraction of mandatory ( "Song of the paper boat" (1999), "Duet" (2006). But at what point it was bothering me, I felt that this approach one-sided, and I decided - but why limit yourself, because life imbued with the contradictions (and now and always was), from politics to everyday life - is love, and antilyubov. One without a second there, from love to hate the whole step. Therefore, in this project "In the sphere of attraction" is a thesis and antithesis and there ( "Rendezvous" (2009), "Ready" (2009). There are new and interesting experiments to me. from emotion, to the idealization of farce ...
VK: The variability of shape, the transformation of the object image, the permanent distortion of relationships between objects leave their mark on the content of the work, the essence of what actually happens. On the other hand - the metamorphosis of form excite the imagination of the viewer, make it difficult "reading", causing an ambiguous perception of works of art. What is it for you - a deliberate move, or an unfortunate imperfection of artistic expression, or the usual innuendo?
AM: For me it is some innuendo, some freedom of choice for the viewer (let him think ...) established the uniqueness of the opposition. Like the fact that the variability in shape - is opposed to the conservative stagnation ... Constant movement - static. Life is movement variability. In art, I like improvisation, dynamic performance, "jazz". I consciously strive for this.
VK: I do not deny that as an artist you formed in Odessa, despite the fact that vocational education in Kharkiv, and between the artistic traditions of these cities there are significant differences. Odessa school today as a hundred years ago, there are countless creative research, brings together the creative work of different stylistic orientation, traditionally there is some continuity in the creative generation but as you have formed relationships with the school?
AM : Yes, I emerged as an artist in Odessa. Came to Odessa, a young artist, still have not decided definitively what direction to go, not imagining that it is - Odessa, what is its artistic life. And already in place to conquer these horizons, was immersed in this space. Of course, I had some preferences, intuitive desire, something I liked, something - no, but I saw a whole layer of culture, which is close to my tastes at that time. Like, in particular, your creativity, creativity of some of our peers with you, the work of older masters. In the language of the outlook, I found myself close, in Odessa environment I did not feel lonely. Position themselves in the art with avant-garde to a greater extent than with traditionalism, although during my studies, I seriously learned the academic experience of masters of the Soviet school, their secrets for professional, skills - I've got. At the same time felt - to me this is not enough, on the one hand - I am grateful to his teachers, on the other hand - I was not happy about it. From this moment - the completion of training, I started my creative search. I rejoice in the success of colleagues, I can not deny some of their influence on their creativity, but it was and the internal resistance - I think that there should be no heroes.
    Place of schools with such a position is not the principal. School - delineation of a specific artistic horizon, the basis for self-determination. You can be a student of Sergei Gerasimov, or Marc Chagall - and remain a student all my life, only a student ... The task of the artist - to determine its creative person, and not use the language of his teacher. I then have to go further, pushing off from the "school", and for me it was the main ..
VK: Well, fear person who would read only one book?
AM: Actually, the school - it is reading a few books, feel the force field in which you start to navigate. I got my school, her great thanks, but already has its own position, there are other benchmarks and outcome of this exhibition - one more step on this path.
VK: Today, a significant layer of our countrymen is positioning itself with the Odessa school of painting, assert in their professional capacity and a fan of fine art, often without good reason. Canvas, oil paint - and this is art! And if you hand in hand - already has reason to consider himself a painter! For painters consider themselves all and sundry. On the other hand the current state of culture in our community can not ask directly - and which are relevant to the painting as high art, have the master - this is a genuine outrage, yet would - stand guard over their rights! Blurred boundaries between the arts, the uncertainty assessment criteria, lethargy, professional critics allow them to feel quite comfortable in this situation, and to obtain money for their work - consider themselves professionals. This applies not only painting, leafing through the pages catalog of sculpture and am starting to think - and this is more like arts and crafts. It seems that soon the last bastion of classical art can remain easel graphics ...
AM: It is a pity, but in Odessa, no solid tradition in the field of graphics and sculpture, there is unity, there is an interesting master, but this is the exception rather the rule than full-fledged creative environment. It looks quite different in other cultural centers, and it surprised me when I realized this. And the thing is, in my opinion, not so much in the Odessa mentality, but in the absence of the profile of high school, which would cover these industries. There are art school with a long and good historical traditions, which I perceive as a fairly conservative. When I had to work there - it became clear that the shift is there something in the direction of modernity impossible ... almost all left, as in Soviet times. This stagnation, orientovanny only realistic painting (everything else - is secondary). Otherwise, looks like the situation in other cities, take Lvov or Kiev - there is art academy, covering all industries, ranging from the easel and monumental and decorative painting, easel painting and book illustrations, posters, interior design, industrial design, promgrafiky, and ending with costume history art, etc.. Higher education is a significant range of opportunities. If there are such schools, educate staff, working conveyor - that is, a steady stream of people who do this, new master ... A similar situation in Kharkov, and Odessa, unfortunately, the situation is different - in our region, many talents, who are forced to study in other centers, and sometimes there and remain ...
VK: Because Odessans "stand in the gate in the red boots" and praised his school! Indeed, if Kyriakos Kostandi Volokidina Paul taught, Paul Volokidin taught Sheluto Nicholas, Constantine Nicholas Sheluto taught Lomikina - transferring skills from hand to hand continuously for a long time within the walls of one institution - this is like an epic ... For a place that takes the school in the history of artistic life in the city, not one of Odessa's universities can not be compared with the college.
AM: To what extent this field is filled art-graphic faculty of the Odessa Pedagogical University Ushinskogo. Again, thanks to fate, I now teach there. There were and there are interesting artists, educators, creative individuals who are able to educate professional artists. But it is still a pedagogical institution, the system of art education, he does not. Now the Academy of Architecture has started an arts academy, where he teaches our colleagues - God forbid that all they got and the faculty there, because it's not so simple - in Odessa, has been the Academy of Arts, lasted three years, and more - and no funding, and only.
VK: Alex, and as for you personally, is teaching - a form of existence in the art, a way to earn money, possibly have other motives?
AM: To izlagaet something, you need to know clearly the subject of teaching, you have no right to doubt. It makes me constantly explore hudozhesvennuyu practice. If an artist paints in a studio - much of it takes place intuitively, unconsciously, he can not always describe what is happening, but the teacher must clearly answer the questions in the minds of students and have the same clarity. Through teaching experience I already have. As an artist I am constantly working in a creative workshop and training.

VK: And what is the contact with students?
AM: There are different students, but I am oriented to those who have the most potential is high. Here kontaktiruesh with individuals who through some five years will be our colleagues and this is very interesting. Interest in interenrichment - you give the student experience and see - as it germinates and comes back to you sometimes with a completely different unexpected quarter, that mutual enrichment. And one more thing - today the artist is important to have at least a little, but wages, because paintings are sold every day.
VK : The artist is working on a product under the order or has such an order, admits or rejects its own zaanganzhirovannost receives public recognition of his work or not, has a future artists or works in publishing - in any field, for whom, for what are you doing today? It takes ten or twenty years and changing understanding of the definitions of "academic art", "avant-garde" attitude to these areas, but the concept remains the same "school". How do you envision the ideal of such a relationship and how it develops, really?
AM: I'm working now in the field of painting, so things are. This is the second I am a graphic artist, but the school I graduated as a painter. I have also worked in sculpture, but this experience I was only in art school, now somehow hands do not reach. In the Odessa Art School I taught at the designer's office, kept drawing, painting and composition, there is a special arrangement, the project direction. But, again, drawing and painting is academic disciplines, their requirements apply to all offices. Now, at the university I teach the same subjects, but here the songs of easel painting. As time passes, change and understanding of academic life also changes. The concept of the older generation of artists whose lives - honest service to art, give a good basic knowledge of their students. But there are also a basic knowledge of different approaches ... I also am in this state for more than a year - am making a contribution to the preparation of future artists, in the formation of the person Odessa school. I do not give estimates own work - the time will come, and perhaps my work will bear fruit. Grade school thirty years ago, when we were students, there was a sufficiently high level of training, albeit a one-sided. Now, I think, to prepare students to be more varied, in different styles. There are general principles of composition, color Diploma, combining all directions in art into a whole. There are artists who have mastered the basic knowledge that allow them to call the professionals and there are others - who can be called only by amateurs. It does not matter - whether you're an abstract or realist, call yourself a traditionalist or avant-garde.
VK: And how would you like to see its audience?
AM: I want to see the audience, who understood my work. I watched the reaction of visitors - visitors are often not ready to accept, lack of basic knowledge ...
VK : And how was your creative formation in Odessa than a picturesque work for you today, there are plans for the future?

AM : At one time, when I first arrived in Odessa, I was more graphically involved in a poster and the union entered as a poster artist. To this day I do not think this is a second-class art, as many believe in Odessa - is the layer that we have not been developed, again, sorry, compared with Kharkov. Later, began teaching at Odessa College, I felt the need to define for ourselves - who am I, if I teach painting. This prompted me to rethink priorities, it was a push in the direction of painting. Graphics, I had no opportunity to engage in close, although he had the desire - not the studio had not had the machine. And when poyavmlas workshop - no longer had the desire. In addition, there were computers, new opportunities, new technologies - I switched to it without returning to the already etching machine. Sometimes I talk about work - the same computer, and you try to do it on your computer ... Computer tool no less important than the brush or paint for the artist. Not everyone is able to do - be thinking of the designer-artist, the development of other forms of labor. I make posters, booklets, catalogs and other graphic products, and to me it's interesting, because they are - creative product. This is what we once did at the level of remove - add pens, paint, scissors to cut and move it left and right, take pictures and stick, and now there are tools that all this can be done easily. A composition depends on the ability of artistic thinking, if it is not - will be seen that did not professional. And now to the plans - there is such a question! In painting, I'm an improviser, I'm an improviser and in life - well-defined plans do not have - in a year I'll do something, but after two years will do so - this is not and can not be, because all the plans are adjusted life. There is one thing - the desire to create. The essence of creativity is to create a product and bring it to the viewer. Initially, I wrote the painting, moving intuitively, often copied, himself criticized and did not show her audience ... And when someone found himself to me in the studio and said: "Yes this is a finished thing ...", it has repositioned my quest, because for me at that time was important to the process itself, art for art's sake. I do not write just for the picture of gratitude client. I have no patron or customer for painting, except myself. I own the customer and performer in one person. For me the act of the exhibition - it's like to cut themselves in half and show the interior of the popularly, it is not very nice, because not everything is perfect ... but on the other hand - this should be done in order to hear feedback on what I did. And these reviews are very different - from the applauses for innovation to accusations of lack of spirituality ...
   VK: Well, the way to the personal exhibition of painting went through the schedule, including a poster, a definite imprint left and teaching in college and then at the University, communicate with students and colleagues. Consider in more detail the circumstances of Hp present stage - as is the process of creation works as you treat work on full-scale material?
AM : For me it is important to get a boost from nature, their impressions, to get what is catching me ... Nature represents the various components and find among them the fact that interest you most and starts with my painting. The challenge is to happen this key point, namely that it has happened. A letter from nature, I always practice in educational productions ...
VK: Continuing to work together with students?

AM: It happens sometimes ... Besides, I always watch this process: students often can not skomponuvat, do not use the possibilities of color, can not finish, do not know when and where to put the accents - I have from time to time it just show.
VK: And plenernoy practice?
AM: Sketches from life on the open-air - it is interesting for me as preparatory material for further use in the compositions.
VK: I never had any desire to write a slice of ripe watermelon and a bottle of green glass on a white table - all in the air, the sun, in real space?
AM: There is, but ... I do not paint an illusory space (as when I was taught), I came to a different visual language. Spatial relationships between objects are not essential to my work ... The main thing for me, the emotional perception of the image, the color plane, the rhythm, relationship tsvetoplastiki, merging form and content into a coherent whole ... But these achievements indirect - requires a certain suspension of nature. I participated in a plein-air in Gagauzia, Transcarpathia, Transnistria, Chuguyev ... open-air traditional focus - in the nature, wrote there sketches, sketch, but as a rule are small - then returned there in the studio and worked on the grounds etyudnym work in large formats. If it were not the first contact with nature - the scene, where they would have taken the finished product?

VK : How often returns to the product, perepisyesh it be corrected?
AM: I work in different ways. Recently, I write so that is not coming back. And to encourage this exhibition. When preparing for the exhibition, the project matures, the time is always short. Appears general unifying idea, because my past shows - is not just a picture, written during his life, this work is in line with a specific topic, and in the context of which decide the overall space of the exhibition. When compacted time, you have no possibility for a long time to play with paint, the maximum is set at the end result - a sheet to write for today and tomorrow. But before this painstaking work over the outline, sketches in color (3 variants, at least). This state of extreme nervous excitement, going into a fist - and with God ... works written in this way - look ekspressivnimy naturally creates in the same breath ... In other cases, when the time is enough, you write a lot of shows, returns to the canvas after a while, once again ousted ... Sometimes these stages fiksiruesh camera - the first session, second, tenth, and then look at these photos and see that the fifth session was better than the tenth. And you think - "Why? We had to stop ... "And when you work quickly - works more - that you discipline and you do not have time to spoil the work. Do not go back to what has already passed, it is better to make a new one.

The interview was conducted Vladimir Kabachenko
March 2009