Boris Kocheyshvili. Life in Art

[Ninni]

White series particularly impressed - with the present day, she spoke the same language.

Cyril Syzransky - this style - I think will look perfect in a minimalist modern interior - as the main, leading, and even "live" part ...

[Кирилл Сызранский]

Сообщение от Ninni

this style - I think will look perfect in a minimalist modern interior - as the main, leading, and even "live" part ...

And I now it seems that in a normal atmosphere with wooden furniture and carpets on the floor (a la Biedermeier some, not interior, glass /concrete), such and such, even old-reliefs in the classic baguette under the 19th century will be look interesting.
Unusually certainly ...
I saw, as in the office with classical heavy furniture looks a thing of abstract expressionism. However, without a frame and the ends of the paintings the artist at the request of the buyer paint it, "prodalzhaya" image on the canvas itself. Great looks! All ahayut-groaning, and, of course, I, Wan, the same like (c).

[Тамара]

Thank you, Ninni! Thank you, Kirill!
Yes, reliefs Boris Kocheyshvili really very curious and expressive. I wrote about them in detail in the message number 18 on page 3 (there are many pictures - you can see )

Сообщение от Tamara

"... Superimposing a lot of stucco on plywood and working a wide palette knife as a brush, the artist draws an iron tool graceful shapes, objects and shapes, cuts rhythmically adjusted space. In this technique, embodied his ever present desire for illusion, the more plastic the credibility and create space images. artists are able to overcome the specificity of sculptural relief, dictated by technical features of the casting in the form, and to conduct hands-free fixing, fixing instant improvisation in the frozen form.
This technique can be called molded graphics: if the traditional sculpture is repelled by volume, then here - from the plane of the figure, reinforcing, sometimes grotesque, his rhythmic, compositional framework. Relief if grows out carefully shaped and balanced composition. On the other hand, these reliefs can be called a easel sculpture: if graphics or painting is expected to consider a single point, the statue requires bypass, or at least motion passed, with each step showing viewers new ways of composition and plasticity. Reliefs Boris Kocheyshvili have the shape and size and heavy machine works, but from different angles and under different lighting sources to the right, left or frontally, give unexpectedly different images, both by the sculpture complex terrain, as well, and this is perhaps the most interesting feature - through a variety of games of shadows, which create the background on the plane most bizarre songs and contours.
]

Description technique regards the latter reliefs (2009), those that have color photos of Cyril or shade. (Pure white reliefs executed in a different technique in the period 2001-2005yy. And for them it will go ahead )

Enclose "exclusive" photos - relief from the summer series already modeled, but not yet painted. Due to this very clearly visible amount and plastic molding

[Тамара]

And here's another interesting story: found in their photo archives capture the process of creating such a relief. It is called "The organizers of the fountain." Ironically, that made a relief to full-scale sketches. This summer, the main square Tarusa built a fairly large tiled fountain. While working his master, Boris was sitting on the bench and drew them, and then on these designs modeled topography (a girl running along the edge, I think - the muse, inspiring the working prisoners on the construction of the fountain ) Relief this way, then hung at the annual exhibition "Moscow-Tarusa" in the local art gallery, located in the same area.

[Тамара]

And in makeweight fotosyuzhet:
"Tarusa 2009" or "Summer Workshop maestro" (incidentally, all the furniture in the photo were made, of course, hands Boris Kocheyshvili )

[Тамара]

Here are a few photos from Tarusa:
 Boris at the end of summer is always satisfied with the exhibition open-air, directly on the site. I wish I had little pictures, should be with friends posobirat for the archive.
Photo: Summer 2008 and a little more - this summer

Photo by Sergey Tartakovsky

[Тамара]

And here is the story of 60-s associated with Tarusa (my illustration, modern).

    "In the 60 years of a cruel winter, the first time I was in the house of creativity" Senezh. "Ibid turned and Yuri Milk.
In house creative graphics doing lithography, and I alone knew about forty pieces of lithographs by Marc Chagall, which he presented to the Cabinet engravings of the Pushkin Museum. Most artists were from the provinces, and they wanted to see the wizard and the sway of Moscow, despite the frost, take note. Was fused a special bus, and we got into engravings cabinet, and then parted, agreeing to meet at six. At six in the evening we all gathered at the bus, Yuri portage large and heavy suitcase, which we barely pulled into the bus. "What is it?" - I asked. "Books" - replied milk - "Suppose they will live with me Senezh."
         In the midst of an old bus breaks down naturally, and we find ourselves in a clean dark field, freezing, of course, death. The chauffeur had finally managed to stop a bus with poluvybitym glass, closed a carton, which has agreed to the same, we take. There was nothing, and we decided that it was better to tolerate the cold, but still move forward.
On arrival all rushed into the dining room to drink hot tea and a cold cutlet, and I dragged my suitcase into the room, Yuri Alexandrovich, gathering, then, to join the company. But the owner said that after the experienced we can "get sick and die" and opened the suitcase with the tomes, which was lying comfortably in the corner half a liter. Yuri opened it, poured two state faceted glass almost to the brim and we are busily, like medicine, drank the contents. Thus began our acquaintance.
         After we were friends houses, and one day, by agreement, left to Tarusa visit our children in Pionerlager. By that time I often have been in Tarusa and knew the road from the camp along the Oka River to the tomb of Borisov-Musatov. We navoshischalis headstone Matveeva and sat on a bench, admiring the scenery, too. But first a little purple cloud rapidly turned into a huge purple blot. I assumed that we are now obolyut and be ticking, but Yuri nowhere fuss. He never fussed, except that in the post-war Leningrad, where he was a cyclist and any competitions ahead of everyone, and the pavement rushing "let liquid, Click.
       Rain covered us with his head, and we are running down the hill from the church, were in the restaurant. Now Tarusa a lot of entertainment, but then there was one provincial restaurant, which was again delivered a historic phrase that we can "get sick and die." We had to drink vodka and eat fried roach is that it is very cheap and very tasty. Curious Molok immediately found that fish from the Oka, and deliver them to local residents. Later, when the storm passed, we found ourselves on the pier (it was two or three boards, which pestered Shipping). They discovered we ourselves in the company of men who shared with us the port, and then we shared with them, who had taken it from port, and the peasants quickly dubbed Yuri Alexandrovich "Kolya," which he apparently enjoyed. He had already arranged to fish net somewhere on the beach in the juxtaposition of some one of the peasants known lakes. As a result, we nearly missed the only one in those years, slack bus "Tarusa-Moscow". Now Tarusa at least hundreds of taxis and a number of pubs. One of them - cafes Oka exactly at the place of our historic seat of milk. "

Photo by Sergey Tartakovsky

[Ninni]

Thanks Tamara - You are very interesting to tell and photos - lovely sight - delay ....

[Кирилл Сызранский]

Сообщение от Tamara

By that time I often have been in Tarusa and knew the road from the camp along the Oka River to the tomb of Borisov-Musatov.

Monument tombstone on the grave V.E.Borisova-Musatov, by-Terent'evich Alexander Matveev.
Boris finds a work of genius.

[Тамара]

It is the way I turned up here by the arm Yuri Milk article about Boris Kocheyshvili published in The "Russian Thought" on 3 April 1992. I reprinted the article and put sdes forum. The illustrations, again, my, so clearly was.

Talks with Moscow artist Boris Kocheyshvili

      I have heard from Boris Kocheyshvili phrase that he repeats almost like a mantra: "The art of surviving one who can not pronounce the whole alphabet, and one letter." Old and new is always true. From its decision on the merits, determine the fate of every artist. Especially the Russian, the warehouse itself and the nature of which is near a spirit of searching some general artistic ideas in the name of which he is ready with all humility, to pick the alphabet, so frequently and staying in the middle to himself. Or, conversely, feeling himself the bearer of truth, stoically hold on to their once found.
      Not so easy to say what type belongs to Boris himself Kocheyshvili - an artist who literally charms his freedom and artistry. Artistic his nature affects everything. And in a careless and bezbytnom existence, and in rare intuition to other arts, and the unexpected judgments. Talk with Boris Kocheyshvili, perhaps no less fascinating than talking with his work. Usually the artists talk about art, prefer to talk about trade. Kocheyshvili is another - the artist's personality, his intentions and his actions, in a strange fate, he tries to read his.

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I met with Boris Kocheyshvili twenty years ago, when he suddenly started, as he himself said, "in a frivolous painting, trying to simultaneously express and flashed and invented, read and expected. He was criticized for self-will, said subjective in his drawings not overlaid on the objective. In fact, it was fundamentally different artistic position in which the imaginary world pushed the real, as was the incompleteness of the program. There was revealed the nature of theatrical talent of the artist with the laws of the game and with his characters, who, moving from leaf to leaf, there were still recognizable. I've learned in these sheets of common friends, to know himself, but from the lived-haven of our Moscow studio, we will hudozheika been moved to any other circumstances of place, time and action.
      The motives of friendly interviews or unity souls who especially took Kocheyshvili during detached from society, the existence (now referred to as the underground for years), received from him a dramatized version. Life has presented to him a certain stage, where he was Artist Boris Kocheyshvili, played its theatrical mystery. Only played them on paper. He easily dipped our eye in this alluring world of the stage area, where there were imaginary arch and imaginary scenes where the shadows or silhouettes of figures linked to the laws of the game and talk the language of public theatrical gestures. (ill. 1-3)
     Like the famous masters of the new age, discovered the idea of fleeting movement is not a model, as a dancer or a circus clown, contemporary artist prefers to plastic have already selected other arts forms, only to read a lively and vibrant brush. And in his own way plastic paraphrases some unknown to us Mima will probably also among his artistic friends, for which only one finger movements, easy turning of the head, slightly tilt the shell to move in a different way or in another art space. Something similar is happening in the graphic stage settings Boris Kocheyshvili.
     And now, when the artist seemed to have found his one letter and it only remains to develop its variants, is unexpected for those who managed to love and appreciate his work, and perhaps unexpectedly, and for himself, he starts all over again, beginning almost zero. Grasp the logic of his behavior on this occasion even more difficult than before. It moves around, as if the opposite direction. In drawing disclaims any hint of painting, abandoning its fuzzy contours and broad, open-hand movements, they are now preferring solitude and asceticism purely linear graphs, some brief graphic formulas that he has a small window right in the middle of a large white sheet - here already no place figures, nor any action, only the strict essay poluarhitekturnyh or polugraficheskih forms. (ill. 4) And at the same time the artist is taken seriously for the painting. (ill. 5-7)
      At last year's exhibition in Moscow, Boris Kocheyshvili, where his paintings and drawings appear on an equal footing, I recalled a conversation with the artist, which took place before the Arbat display in his studio when he first showed his paintings. Here is an excerpt from this conversation, during which together we tried to "voice" of his work.:

- Now you have all the opposite: in painting, you freer than in the graph.
  - In painting, I try to shake his psyche, and graphics requires the accumulation and deepening of permanent attachment.
- is now attracted to the architectural drawing, as if living in times of Piranesi, and you saturate your graphic formula baroque motifs without any taste romantic ruins.
  My-architecture does not have the exact address. It is constructed from some
parts, stuck in the memory of the arched openings, the capitals, but he would like to create an architecture, a certain form. As far as romantic ruins, I consciously avoid pumping sensuality and lyricism. Is a matter of perception.
-Do not lose you in painting the motives and speed of movement, which has always been your strong point? However, you now have is a conversation, not individual pieces, but, if I may say so, the dialogue within the form. Hands and feet you can not simply gesture, they talk. But God, what do you do with the figure. You do not throw up their hands and their weaves, they you have no bones, no turn, and braid neck, write no legs, but, somehow extending them write their merging.
- I like painting in the possibility of risk and random acquaintances.
                                                       
 Yuri Milk. Moscow.