Still life as a genre, or better to say, a filing system, is convenient for many reasons. The first thing that attracted me was the lack of the need to have a lot of space for shooting, I limited myself to an ordinary cardboard box that can be bought at any hardware store. The second is the closeness of the stage, the closeness of the space. Third, I can do whatever I want with my actors and they won’t even make a sound, unlike live models! In general, nature morte is a great opportunity for perverts like me. The only thing I wanted to avoid in my work, entering the territory of still life, is the classic pictures of peaceful and sleepy living of objects in a frame with high pathos and self-admiration. I wanted action, so that in my theatrical production, and this is how I evaluate my work – directing in a chamber theater, passions raged, there was tension. Objects should act out scenes from our lives, the intensity of drama, be close to the viewer. The theater cannot exist without a spectator, and my works need a spectator, but not as a detached contemplator, but as an active participant in this action. The viewer must become a part of this production, I’m just building a mezzanine, and the viewer starts the action inside the image in his head and plays the act the way he wants. I give the viewer freedom and give him the right to interpret what he saw. This makes it possible for the viewer and the thinker to feel the freedom that art gives, to become part of a world where there are no restrictions, there is no limit!
Laboratory for research and Birth Control of ideas and Images. How is the idea born? How does an idea acquire visual features and become an image? What is an image? – A repeater of an idea?! Does the image translate one specific idea approved by the author, or does it all depend on the viewer and his consciousness as a system key for interpreting the image and forming a statement and reading the image? Then the viewer is a part of the image system, an important and necessary element for the whole structure to work. Who am I in this series? – I’m the director! I collide objects and observe, this is akin to the work of physicists colliding elementary particles and fixing the result of their collision, so I fix collisions of objects, sometimes a stable system of images is born as a result of a collision, sometimes nothing…
This series is a complex interpretation of the work of consciousness and subconsciousness through visual images. An experiment within the framework of photography.
Gelatin silver prints
Print size 27×27 cm or 47×47 cm