Good day.
You'll excuse me, I'm not special, I will describe briefly.
Statuette, cast, do not know what kind of material like plastic, height 47cm. The weight of 3kg.
Unfathomable a mystery - as the artist finds himself, his manner, style, opens its compliance with mental, nervous organization a certain type of material and plastics. The path to artistic self-identification is always tortuous, agonizing, but in terms of normative academic aesthetics, socialist realism, in particular, he takes a dramatic, if not sacrificial in nature. Passionate in culture have always been, but when they clash with tradition is limited not only by the struggle of tastes, commercial interests, and ideologies, this confrontation has become risky, as it happened in Soviet culture. However, in these circumstances, there were miraculous events - a sort of people in the world, the master, endowed with the gift of turn away from the concrete circumstances of time and space to live happily, to create, to breathe the air of the universe. Such a phenomenon was Alexander Zadorin. Not being afraid of falling into bad taste, one could say that in a past life he was the Greeks of the classical pore. He is - there is nothing to prevent enjoying of what life was pushing it, really "good and evil, acceptable with indifference ..." - a wise stoic stance. She helped him to tolerate and, ironically refer to the Soviet cultural semi-official organ, its rituals and rules, and generally take around outside, on top of its topical relevance. He went without official positions and promotions, even more so avoided them: an immersion in the phantasmagoria of the creative process, the recognition of close friends and love in his system of values is sufficient reward. May be so shaped the world of the wizard has a kind of humanistic universalism, that "global responsiveness, inexhaustible gradations and shades of which are his legacy.
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Zadorin like - then immediately and accurately guessed himself when, after the Central School of Art has chosen branch of monumental painting LVHPU them. Fly. There can be suspected posleottepelny romantic resonance, but it would probably led appetite in an elastic plane in the material with which the artist enters into a confrontation. Such a plane, although in the easel, a miniature form of layers, dishes, surfaces of vessels he had received, ending, as a result, the department of ceramics. Molding, forming and stubborn resistance of the clay mass, and the elements of earth and fire - it can inspire, even if the products remain within their own arts and crafts. But beyond these very expandable: shaped vessels - whether Phanagoria ve BC. er. or a Picasso - it is sculpture, though hollow inside, functional. If you close this "cavity" and close the walls of the ceramic layer, by itself no longer the everyday use of the product and its classification as an "application", the sculpture will be "pure" in a fairly traditional for her material: Terracotta old masters have always used as a temporary, interim , sketch material. Follows, without exaggeration, a historic step was to make it permanent, "legitimized" sculptural materials with inherent and new to this art form textured, kaloristicheskimi, compositional possibilities. And it has carried out a group of Leningrad ceramics, one of whose leaders was Alexander Zadorin. Momentum of this opening were held without censorship hudsovet, club exhibition ceramists who make the history of urban culture called "One track." They were held regularly for 10 years (1977 - 1986) and each of them becomes an event, if not a revelation, because in ceramics - and in any other material, and these are not too formal exhibitions - permitted the search for new forms and the formation of individual style . Here's how he remembers it Zadorin: "... for me personally participated in the exhibition was primarily mobilize. Opportunity to show the most important work of the year, without oglyadok on vystavkomy, customers, hudsovet, every year open up, mobilized, and simultaneously increases the responsibility of the spectator. A spectator in those years was a remarkable and thankful. I remember this small exhibition was visited Tovstonogov, Basilashvili BDT and other artists, intellectuals and university students, diplomats, and of course colleagues. Friends - Colleagues from across the country came to socialize, sip this freedom that I do not know how it was possible to smuggle in defending each year from scandals and diplomacy, maneuvering between Anikushin and Moiseenko and party bosses in these darkest 10 years of complete stagnation. Not taking seriously, decorative art, sensing ceramics as pots and vases with roses, Argus sotsrealitsticheskoy fact underestimated the ability of ceramics to meet new plastic and pictorial tasks. Now, looking back, much seems naive and not worth such attention and interest. But the value of these ten shows no politicking, not in confrontation but in the fact that it was the assertion of new forms of plastic language, so coveted in those years of stagnation. "
In the ceramic sculpture realized interest Zadorin to monumentality. Volumes of his limited clear, concise outline and a smooth plane. Of course, it involves specific material that does not allow for dynamic expression, but this is offset by an amazing reception - fragmenting the picture: the figure consisting of individual parts, filled with lightness, air, the illusion of motion, as if it pushes the space. Figures animated textured variety of individual parts (or planes), the ratio of light reflected by a smooth surface and the shadows on the surface of opaque, complex articulation facets, which creates the feeling rippling shapes. And each part - arm, leg, head - at every point, until the edges are filled with state mood - in blissful peace ("Contemplation") bliss ("Torso") or frantic, frenzied upward gravitation (Letar). "The sculpture - an art of the mind" - considered by Picasso, and this is confirmed by the constructive work convincingly Zadorin. Over time, in his plpstike disappears active, disintegrating form of color, becomes more compact volume, monumental. This last quality has been tested architecture and the open air, when the scale of the wizard adorned some of St. Petersburg buildings. Credibility Zadorin - ceramicist became European, if not the world. Back in Soviet times it was the same party authoritative exhibitions in Faenza, Vallorise, Stuttgart, he regularly participates in ceramic workshops in Latvia, Israel, USA, where conducting and master classes. According to his colleagues, that his name stands for overseas domestic school of ceramics.
However, visitors to the exhibition halls of St. Petersburg know him primarily as a painter, not because he abandoned ceramics, but because ever since his student years, never stopped painting. How many masters of XX century. Between his sculpture and painting is an organic unity: in the different materials he asserts the poetics of his art - pagan power and energy of life, the inviolability of its secular basis. Truly open art painting for Zadorin became acquainted with the Shchukin collection in the Hermitage and the French art HHv temporary exhibitions. He once and for all found him "own" - Picasso and Cubism. In earlier studies, with their biased, movable space, the multiplicity of perspectives, sharpened geometrism forms is obvious. Over the years, these techniques are dissolved in its own vision, and for other purposes of art and other media paintings, but they remain the essential professional "first impulse, which starts at the beginning artist mechanism of creation. Powerful, gloomy, faceted female figures of early Cubism could become an important source for Zadorin topics as eternal as it is variously interpreted. His subdued cozy, warm charm massive female bodies. Featured simultaneous - from different perspectives simultaneously, they appear in the fullness of his seductive femininity into impressive poses, penetrated a lazy, relaxed grace. This is what - the archaic deities, mistress of the world, surfaced, perhaps, from the Norse mythology of ancient cultures, and certainly, from the depths of the author's imagination. Zadorin masterfully works the line - it encircles the figure of a single loop, as if to cut it from a tree, and the silhouette takes up volume, movement, state of mind. Linear silhouette filled with smooth, quiet tone and there is a figure that fills the foreground, dominating over all others, or around her trembling and agitated, pulsating and playing - water, light, clouds, as shown textured, rhythmically, density and energy of the stroke. This symbol of eternal femininity reigns in landscapes, filled interiors, it is full of sensuality, healthy eroticism hidden vital force. His insinuating grace and flexibility are often set off by a strict geometric backdrop: a "Banschitse", "In the bath" von divided into squares in beach themes consistently appear striped towels. Intentional geometrism in his paintings are persistent and obvious - the clothes of the "vest", checkered tablecloths and shirts, even neutral backgrounds of portraits he did not leave without a horizontal pattern ("Tonya"). Characteristically, his drawings often he does on millimitrovoy paper. I remember the play by Max Frisch's Don Juan or the love of geometry, where the hero, satiated with his adventures, refers to the geometry, which is for him synonymous with the proper and reasonable device life, logic and clarity, supreme justice, perhaps. "Geometry - wrote Appolinaire - has always been a guide for painters. This is the base of the new realism, a cat. will not give poetic and wise realism of Ancient Greece. "Zadorinskaya love for geometry balances, cools it sensual, Bacchic beginning and probably against the will and consciousness of the author's own artistic instinct, the desire for organic design of the picture plane and constructing a plot, unknowingly leads him Western paradigm of the eternal - the ratio of the elements and culture, mind and feelings, Dionysus and Apollo, in the end.
Very often his work, he constructs a system of double glazing: a massive figure, "oskulpturennye" complex configuration, sandwiched in close flattened space between frame and picture frame, doors, windows and mirrors ("Black Linen, White Door," "Before the Mirror" ), which beckon mysterious invisible dalyu.
Motive was given, the path into the unknown and, therefore, can be irresistibly entailing constantly disturbed Zadorin. Generally, his paintings speak of him more than his friends remember him as a jokester, humorist, songbird, the soul of the company, the universal friend, creative and worldly power that infects others. But if the artist in different variants of this motif appears "Outland", where the aching longing - is the image of a traveler, a wanderer, so in the soul which lived - that dissatisfaction. For the first time this motif appeared in the era of "one song" ("Wayfarer", "Rider"), later began to emerge options "Flight into Egypt", "Travellers," Horsemen ". They are made in clearly established "zadorinskoy" manner - large-scale, slow-moving, despite the stated theme, the characters are densely fill the surface of the canvas. Songs of Travellers "and" Horsemen "are identical and similar to the monumental sculptural group, the pedestal where the lower frame of the picture. Thick, heavy masses laid paint increases volumetric and in bunches of red a lot of dramatic plunges in black all night. This ("Travelers") is one of the most tonally exquisite paintings Zadorin. Bright colors, sharp contrasts, he never abused, which makes it a worthy successor to the ascetic chromatism Cubists: he knows that pure color flattens the form, and he loves her weight, sculptural volume.
In the last 15 - 20 years of life, the artist was able to answer sounding in his paintings call space, seeing the world on different sides of the Atlantic Ocean. Himself an amateur and master guitar singing, he became interested in street musicians and he was right, because it is lofty words, the soul, culture, people, carnival, vyplesnuvshiysya the streets. These studies confirm once again the artistic principles Zadorin - it does not come in the wake of topics, from local kalorita, and adapts it to his style. "New Orleans" and "Jazz - 2" is embossed texture, shape, grow together in tightly knit mass. It is difficult to say how it complies with the musical idea, but perhaps the ensemble, the force and energy of the sound too "laid down" in these powerful songs. Guesser then the sound pressure is set off the same, all structuring geometrism, whether masonry wall or a striped suit in "Jazz - 2". A somewhat different rhythms in the Spanish - Mexican folklore, which Zadorin loved ever since his military service in Cuba: "Tango", "New Guitar", "musician." Musical themes are made with extremely refined pictorial culture. Strikingly, like Alexander, with his kind love of life, thankfully responding perfectly to all the joys and temptations that could distinguish art from life and restrain himself, picking up a brush. This work features a discreet warm range - maybe brown, ocher, golden - olive tones shone swarthy faces of musicians and this greyness sounded muffled in their modulations of the blues and guitar busting, but conquering them is hidden the power of feeling and color. Bloody, violent bullfight causes him to retreat from its aesthetics: threads, streaks, splashes, splashes of red, pink, yellow, yarkogolubyh he sets off the black mass of a bull. This theme is given in the development, in two scenes, in the increase of action, but with tact and sense of proportion is always forced on the artist's exhibitions of this diptych share quieter story.
One gets the impression that the Greek rule of "nothing too" always instinctively adjust its work. What - the happy ways of the art of Alexander Zadorin came to the quasi-classical foundations: the architectonics of his compositions focus on the basic parameters of the canvas, firmly holding the plane, unwaveringly stable and balanced. He himself spoke of "the constant search for harmony of form and color, surface texture with an almost subconscious appreciation of the equilibrium found ...". His poetics of wonder combines poignancy and monumentality, the warmth and strength.
When - that Courbet declared: "No more schools, there are only artists." Now it seems to be fulfilled. During HHv were, if not the school, more or less authoritative art system, as the same cubism (some authors call it "great style"), Adept which became Zadorin. The same can be observed in domestic and informal post-Soviet art. Judging by the experience of Alexander and other masters, Courbet's dream realized: every artist - closed in a creative universe, "he listens to his soul and finds her sounds adequate realization. Always an individual, free of trends, because everyone is looking for their language, as is well known, the diversity of languages is the wealth of contemporary culture. Professional communication is limited to one thing, the bathhouse "culture" or such a very informal "structure" as the SAVE (St-Petersburg Academy of Contemporary Art "or" Academy forty immortals ") in 1996, founder and president was Felix Volossenkov Petersburg artist, and one of the immortals Alexander Zadorin. This infantile idea is interesting in itself as a postmodern game, socio - historical simulacrum. She consciously refers to all the Classical Academy, from the Academy of Plato and the Academy of Fine Arts of France, also called the "Academy of Immortals". The reason for its occurrence has become eternal, and if exactly 300 years the competition of old and new capitals, and specifically, the jealous resentment when a Moscow Academy of Zurab Tsereteli. SAVE registered it officially exists, but as a simulacrum - neither the room nor the program it does not. But there are 40 amazing artists, joint creative campaigns, exhibitions ... future, the truth, either, because new members do not accept, and the Academy will die with the last of the "Immortals". Nevertheless, the impetus for its establishment can understand: on the one hand, this Academy and on the other hand, the artists in it are free, and above them there is no bosses, bureaucrats - some revenge for earlier times. But the ultimate meaning of this "Telemskogo Abbey, where everyone does what he wants, in that its members free to create and join no membership fees and tickets, but holy and unselfish love for art. The Academy will disappear, and the Immortals, by definition, never. Alexander Zadorin had the happy gift to create life, dramatized daily and seamlessly blended into this game at the Academy. He was never concerned about his reputation as an official - not to give interviews, although the exhibition was a lot of reasons, not got your own website, do not promote publications and films about themselves. But in the immortality of, hopefully, he has already entered, as evidenced by the need for its creativity, love for his art, enabling a large number of exhibitions after his death, including this one, Moscow.
Isabella Whiten - a senior researcher at the State Hermitage Museum
Shining Torso (Part 2), 2002, fireclay /wood-fired, height 55 cm
Torso of a black with white stripes, 1999, fireclay /glaze /dymlenie, 46 x 16 cm
Torso, 2002, fireclay /soda firing, 37h46
Girl and loschad, 1990-s, fireclay /green glaze, 42h60 cm
Contemplation (male and female figures), 1988, fireclay /salt, height 120 cm
Sitting on a chair (8 pieces), 1989, fireclay /green glaze, height 125 cm
Girl with a Cat, 2001, fireclay /dymlenie, height 30 cm
Tranquility, 2000, fireclay /chamotte crumb /oxides, height 52 cm
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05.05.2011, 10:46
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