Kyiv . Ya Gallery Art Center
12.02.2014 – 10.03.2014
Everything flows, everything changes.
Art is created from art. If we don't let our reality through its prism, art becomes mass media.
The understanding of inseparable unity of life and death, the flow of one into the other is inherent to life itself. Thanks to this wisdom the world is presented not as an intellectual scheme, but a live organism, harmonious and at the same time contradictory and dramatic.
Everything flows, everything changes! The flow of time is not subject to a man. Stopping, pausing this process is impossible! Substance is not eternal! Its transformation (transition from one energy state to another) is inevitable! We can only try to understand, to realize it. We see the metal rust under the influence of time, laid in it, transitioning into another state, acquiring another shape, color, texture, structure. It is the form living and changing. We observe the shape of the stone change under the influence of time and water; a tree, a flower – everything living changes. “Nature is a manifestation of time and space in a continuous change..." said Lucio Fontana. And man, as a living matter, is also involved in this cycle. Life goes by very fast and everything escapes us. Every moment becomes valuable. Seeing the value in every fleeting moment – evidently, it is the higher meaning that we all seek.
Fixation of the states of the matter that are changing. Here I would like to reduce to a minimum the role of the artist manipulating the material, dominating it, by letting it (the material) maximally express itself, thus emphasizing the idea of the project – flow, fluidity inherent to the existence and the nature.
Creating new forms against the background of creation and ruin is one of the main leitmotifs in Igor Yanovych's art as described by himself. However, in his new series Flow any author's intervention into the natural order of the material itself is reduced to a minimum. The artist “holds" the fluidity, dictated by the very essence of the world, fixed on canvases as little as possible. Gravity and resistance become the most active forces. Respectively, the basic questions of artwork vision and perception become more broad and visible.
In the concept of the series the conflict of the opposites is placed au naturel: it is not the human that controls the metamorphosis of life and dramas of death; there is no switch that divides conformists from the independent; there is only the flow, metaphysic and Heraclitus's, that pulls all the dualisms into its course. Interestingly, Yanovych uses a more “soft" version of the famous maxim “Everything flows, everything changes" that in reality is Plato's retelling of the authentic “You cannot enter the same river twice". The difference is that despite the ancient Greek pessimism, particularly characteristic of Heraclitus, appearing today in the situation of the Flow (in the role of the viewer or the author), we get a chance to refute, if only to a small extent, the impossibility of a lengthy immersion into the flow, slowing down the speed, keeping the value of the moment.
“Composition that operate with coincidental" in conjunction with the “will of material" – in its turn is a great theme that acquires weight not only in art, but in the so-called history of the ideas. Growing into the postmodern and modern plays with meaning – humanists in their contemplation, as well as artists in their creation, become more attentive to the “world itself". Speaking the language of phenomenological constructs, it is about the fact that we are able to work not only with the intentionality of the consciousness, directed at the objects, but with the influence of things directed oppositely (at the consciousness). A discussion of flows and anti-flows plays out in front of us, summarized in the question of what (exactly) we see. At its most bare this question is presented in irrelevance and abstraction.
In the exhibition Flow a “biased vision" that is capable of determining the content of artwork before the viewer enters the gallery is impossible. The visitor finds him or herself in a position that, besides the “seeing vision" activated only when directly meeting the work, leaves them solely with the vulnerability to the affects and an ability to configure a common tone with the fluidity of textures, materials and colors.
Flow is a project that requires of the viewer not only the abandonment of stockpiled interpretative grids (for the reason that they would go through the flow without hitting anything solid), but the awareness of the fact that the artist himself, creating these canvases was a viewer of sorts. And now he shares what he saw.