Kyiv . Ya Gallery Art Center
07.08.2013 – 02.09.2013
We are inviting you to the opening of the project that will take place in Ya Gallery Art Center in Kyiv, at 49B Khoryva Str., on August 7th, from 19.00 to 21.30.
Yuriy Denisenkov's first personal project in Ya Gallery is the author's first attempt of direct presentation of his art. This provides an opportunity to finally get an integral idea of the thematic and stylistic dominant in the artist's pursuits. Graduate of the Faculty of Scenography of the National Academy of Fine Arts and Architecture, Denisenkov promptly observes the objective environment of the modern person and tries to reflect its changes on the canvas. And what yesterday constituted an important part of life and identity, today becomes a common “background" of the existence – in the project Background.
I was greatly influenced by Andrei Tarkovsky and his work “Sculpting in Time". The series of works is a kind of a kaleidoscope, a mosaic, collected from the fragments of the past, found in everyday life and linked to each other. Trying to identify the time that I live in, I determined that the very experience of the present is impossible without the past, and it is its presence that serves as a background that defines the present's silhouettes.
Time and memory are dissolved in one another –
they are like two sides of the very same coin.
It is absolutely obvious that there is no memory beyond time.
Andrei Tarkovsky, "Sculpting in Time"
Lying on the couch, looking into the ceiling Denisenkov discovers an entire story, a philosophic paradigm, a drama out of the blue. The unbearable need to search, marking time provoke finding appropriate themes at hand. Walls, ceiling, furniture, decor that today have lost, so to speak, the utilitarian character – relevance, correspondance to the aesthetic and ideological needs, creating an entire background.
The background comes into the forefront, a term not coincidentally characteristic of painting, drama and cinema. Scenographer by training, art director by occupation, avid film fan and film experimentalist, Denisenkov pays attention to minor things in the synthetic field between the film shot and painting composition. The cameraman glance glides around without stopping, slowly enough to make out background layers.
A socket with a burned out lightbulb crowns a baroque stucco on high ceiling, designed for a luxurious impressive chandelier. Ragged wiring in the entrance hall of the house, designed before the times of electrificationt... On top of everything – traces of later remodeling and improvements according to the aesthetic requirements and modest financial means. Soviet propaganda stucco and Stalin Empire style, designed to illustrate the path to a brighter future, are blocked by shopping layouts and Chinese neon illumination. Carved wooden frames in historic buildings are replaced with metal-plastic windows, facades are generously decorated with new finishing materials, satellite antennas and air conditioning are installed.
Traces of improvement, desirable at the time, are a direct projection of the past, or what's been done. The semantics of the environment is an important part of life. Retrospective observation through the aesthetic mechanics inevitably leads to a confrontation with the phenomenon of fixating a duration. The world of ruins that appears in the shot speaks of nostalgia, inherently filled with past. Using the method of realism Denisenkov offered sculpting in time. What is depicted on the canvases is finished today, but carries on the solemn march through the memories. At the forefront – is the motley layer of time and it won't be covered up entirely with the new layer of a decent repair.