Simon Faibisovich:
"Project" obviously "the first half of the 90 devoted to the study of how we see the world. Then I took optics of human vision: blind spots, moving the eye over the" regular "pictures of the world, the effects of residual vision, when the negatives of the real world appear on the screens of their closed eyelids, and lived there for their own lives, split the image when the eyes no longer work as a binocular ... In short, talking about the various optical-physiological "intermediate layers" through which we are usually unaware of them, look at world. Or do not notice a completely different world in which they have carried away: in edakii "abstract realism" or "realistic abstraction, where no meaning eternal opposition of objectivity and non-objectivity, reality and abstraction, where different combinations of colors and constructed space. Prior to this playing in the daylight with a hypnotic boa Soviet reality, and so creating a portrait of him, I was concerned about the question "what do we see?", but then boa dead, and was not looking at that - a habit of glaring remained tense, leading to refocus vision with results the process, with the public to private.
Cycle Razgulay set now - when I returned to painting after a 12-year hiatus, has puzzled both questions simultaneously: and "what we see?", And "how".
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Ambient Reality regained hypnotic, and so once again gripped my attention. In this case between her and our eyes all the mushrooming "intermediate layers" - now the psychological, socio-cultural. Worked over their creation and technological revolution of recent times, including the "total mobilization" (from the word "mobile phone") view, and postmodernism, which repealed and replaced the coordinates of its schizoid Soviet paranoia, and the glamor, it sank all the information and cultural space who had seized the banner of social realism in to substitute high-gloss world of real, which is again the default was homely, irregular, uninteresting. So I tried to create an adequate portrait of a new era at the same time overcome the imposed stereotypes and adapt "movement time": the life of homeless outsider cast in epic form, join an extremely democratic - filming a mobile phone - with high-quality paint, fotoshopnye tricks - with the painting techniques ... In short, in every way incompatible on every combined in an attempt to create edakii "new synthesis" of the current cultural debris.
Another project submissions relates that at their considerably different ideology, philosophy, technology, nature paintings etc. penetrating the installation is the author's appeal to personal experience for each audience: he suggested and requested only that he himself ever saw - simply for their own versions with their own eyes (in their eyes )..."