How to feel contemporary Arab artists in their national and global markets, art

Gallery "Victory", July 2 - September 30, 2011

in gallery "Pobeda" (Moscow, Marsh Quay, 3 /4) held a photo exhibition «Natura Morta», representing seven of the Russian and American photographers, united by the principle of the genre - the exhibition assembled still life Irina Polin , Vadim Gushchina and Alexei Kiselyov, Jefferson Hayman (Jefferson Hayman), Paulett Tavormina (Paulette Tavormina), Charles Grogg (Charles Grogg) and Michael Huey (Michael Huey).

PAULETT TAVORMINA Source: photographer.ru < /noindex>

Vadim Gushin Source: photographer.ru < /noindex>

tangible world, on the one hand, very malleable photographer - a rare opportunity to make things Continuing technological experiment (mainly working with light, black and white nuances of regulation and so on - is talking about one of the exhibitors Charles Grogg, commenting on his early still lifes with flowers), on the other hand, photographers instinctively try to overcome the static, "Statutory" objects, not content with a simple locking and vibration guessing the secret, invisible life, rehabilitating, at first glance, the most obvious item (like the dishes in the photos of Irina Polin and Michael Huey, bread in a series of Vadim Gushchina), removing it from the "revised" " reusability "modern man, creating unexpected situations and contexts.

For example, photographic still lifes Paulett Tavormina, apparently inspired by the Dutch paintings of the XVII century, carefully composed, meticulously worked out for them every element, every detail the composition, while, ironically, it beats the passion of baroque allegory, referring not to the general categories, and personal memories (such as figs, which grew in the family garden), as it deftly manages the popular Baroque painting technique in trompe l'oeil: Vegetables fruits and literally fall out of the conventional frame, increasing instability bizarre tracks, where the lemons, peaches, etc. hanging on the ropes, as if an invisible market stall decorating.

Grogg CHARLES Source: photographer.ru < /noindex>

Irina Polina Source: photographer.ru < /noindex>

retrospective - in the case of Jefferson Hayman - gets a form of nostalgia esthetic. Commonplace objects (a pair of shoes, a glass, a tape reel, etc.) are converted, through technology and sophisticated printing copyrighted frames, artifacts of a bygone in fact, arousing in the viewer a strange sense of time, we seem to be trying to remember a particular image, the impression of an object , but fixed on the retina of our eye glasses, mugs, as far from objects Hayman, more like a painting by Giorgio Morandi, and not a mass product at the supermarket. Charles Grogg in the series «Reconstructions» in a similar way (due to a rare printing techniques on rice paper and collage principle: the outlines of objects are assembled from separate fragments) refreshes our perception of the subject, questioning the objectivity of the usual "ready", a quick look. Grogg slows and complicates the process of looking, deliberately playing with expectations, predzadannym, it interferes with the two-dimensionality of images, adding as evidence of a strange, fantastic vegetation of the existence of different - strings, sutures encircling the petals of flowers, make the familiar into a unique, make another step up the optics. < /p>

Alexey Kiselev Source: photographer.ru < /noindex>

Michael Huey Source: photographer.ru < /noindex>

Irina Polin builds fragile, not stronger than a house of cards, the towers of glass and crystal different times, wine glasses, wine glasses and stacks, towering on the table as decorative designs are placed in a sterile, purified space, gradually lose their specificity, utilitarian.

Just as in the series Photos of Michael Huey buffets stack dishes do not cease to be, but the data in the form of negatives, they seem to lose their physical properties, knocking us out of the usual visual balance.

Portraits Vadim Gushchina things the same way dissolve materiality, evidence of texture, volume, etc. His black and white "bread", shot close, so that the visible pores are signs themselves, the markers of its own presence, watered-down outline.

Similar feelings arise when looking at the photographs of Alexey Kiselev: although his" Buffet reports "are arranged quite differently - and eating utensils does not pretend to look the photographer a faster and more greedy, hand and eye work synchronously - but captured failures (ie perfect symmetry decomposed products, the absurd combination of candy m & m's, spices, figs, and all this against the background of the tapestry-bestiary) provoke and sharpen the viewer's vision, changing the mode of perception, as if revealing a further dimension.

Catherine Inozemtseva

Source : photographer.ru