Any collector today when assembling his or her collection includes in their collection the “point of views” of others, those spectators, whose perceptions create that special environment for the cultural and historical context of society. For me, this paradox of such co-existing in the exhibition space has defined boundaries of the reality and illusion in the project «Memory: Artifacts».
All the artists presented here have chosen their own forms of creativity – their works have become a study of the disharmony of man and the surrounding world juxtaposing each other. The result of these expositions presented in picturesmetaphors, where the artist combines the angle of view of the spectator with his own, while not revealing the inner drama of the image. He does not give answers to possible questions of the spectator, nor dictate to the spectator any decisions, only offers to see and feel. I think that the origins of each artist’s creativity are different. Igor Tishin’s recognition of the artistic language does not fit into the standards of modern painting, although it can reveal methods of hyperrealism and conceptual art. The artist himself declares the desire to continue traditions of 1920s’ Russian futurism. Neoclassical allusions are traced in the painting of Pavel Polyansky, already a famous master of young artists generation. His artistic world is real and illusory, and everything that happens there is both dynamic and static. In the works of Daria Kotlyarova we see an allegorical picture with a hidden verbal plot and plastic «riddles» that draw the spectators’ attention to the form and themes of her work. The artist Yuri Grigoryan masterfully «visualizes» his compositions, likening pictures to of pop-art and hyperrealism images. The artistic imagination of Igor Fomin includes the parables of history, human lives, cities, events. The literary «citation» of his paintings creates the illusion of absolute recognition and authenticity of everything that the spectator sees.Alisa Fomina, considers in her work the themes inspired by the world of childhood with animated films of the midtwentieth century, with their stories and fantasies, which she embodies in detail in the technique of mixed graphics. Working on the “Memory: Artifacts” project, I was particularly interested in the aspect of interaction of the works of the artists, who use the figurative language as a method of their visual expression. The main point of the project is to find that illusionary border of the imaginative and real. «Memory: Artefacts» is the platform for such intersection, the dialog between these sphears.