Exhibition "Transparent relationships" space painting, gallery "Triumph", 2013
"The Beach", space painting, plexiglass, oil, 100h100sm., 2013
"Plan" space painting, plexiglass, oil, 100x100 cm., 2013
"Heavenly" space painting, plexiglass, oil, 100x100 cm., 2013
"Cuba №2", space painting, plexiglass, oil, 100x100 cm., 2013
"Red Carpet" space painting, plexiglass, oil, 100x100 cm., 2013
"Boyce-TV" space painting, plexiglass, oil, 100x100 cm., 2013
"Yard" space painting, plexiglass, oil, 100x70 cm., 2013
"Tihooooo" space painting, plexiglass, oil, 100x100 cm., 2013
"Muse" space painting, plexiglass, oil, 100x100 cm., 2013
"Cuba" space painting, plexiglass, oil, 100x100 cm., 2013
"Shot", space painting, plexiglass, oil, 100x100 cm., 2013
"Duel" space painting, plexiglass, oil, 100x120 cm., 2013
"Fascist flying" space painting, plexiglass, oil, 100x100 cm.
"Russian Landscape" space painting, plexiglass, oil, 100x100 cm.
Reality as a defect of illusion
The metaphor becomes the language norm when forgotten. Vladimir Potapov turned transparent metaphor of painting in research techniques. He has been trying to rehabilitate painting, for him it is to understand. For this he dismembers her body. But you can look differently: he collects illusory space open renaissance and overthrow Modernism in the active experience of synthetic perception.
The path does not lead to innocence back, and in greater fault. According to the demonized left criticism of the sociologist Luhmann, broken parts of the whole being finished its entirety at the next level. The young artist Vladimir Potapov painting loses identity with the technique of "oil on canvas" and moves to a different integrity. But how to understand the oil out of the canvas, painting without its opaque base painting technique beyond its medium?
That, in fact, we see in his project "Transparent relationship"? A Painting? Yup. But not now. Multi-layer transparent media releases painting from the frame of the canvas, the prescribed way of seeing, in other words, from the picture. Frame limits our perception, the boundaries of convention reports, approves the Convention visual language and brings the viewer into its traditions. The role of the canvas as is conventional - painting rests on its opacity. Because of him, the picture does not have its own light, and forced to construct the inner light and shade mode. Simulative light space is created on a thick plane with one fixed point and does not change its geometry depending on the position of the viewer's eye to the canvas. Illusionism traditional picture puts us in the position of immobilized Cyclops. Thanks to the movie and look at the reality of it ceased to be static before Cubism overcame prescribed painting the illusion of space and a stationary observer.
Vladimir Potapov connects the boundaries of painting problems not only with the movement, but the experience of the body. To understand yourself and look at the world in motion need to relate motility and tactile ability of the body with visual impressions. In such an experiment the synthesis of geometric illusion returns not as aesthetic modernism debunk evil, but as the situation birthday art.
In his project, people are manipulated by something on the ground. This is one of a series of formal motives, though not very important. Minesweeper, golfer, housekeeper, janitor, and their tools - minesweeper, stick, vacuum cleaner, broom with dustpan. Characters common plastic - plastic interior is isolated from the outside look. It may victimises characters in relation to us, but the point is to be able to closely scrutinize them, that's enough. It's not as easy as it sounds - you need to move, otherwise it will not work. In a move is going to what was left of the traditional picture - scenic illusion, the result of a still cyclopean vision.
The second refrain project - spots. It seems that this screen, which appears in the arts, along with transparency and indicates the nature of the document, The constructed reality and all related issues. In Potapova spots - is not the raster, and filters. Raster points to change the nature of reality, its transparency, the filter creates an obstacle and shape concentrates opacity, form part speaks by itself. No matter what the reality is artificial, it is necessary to understand the painting, as if we do not know about it. It should be borne in mind opacity, talking about transparency. Glass, air, water, the retina is not ideal. The illusion has become more convincing when Leonardo discovered that the opacity of the layer accumulates in the air before perfectly transparent and invisible. Detect transparency is possible only through its defect.
The movement, which forces the viewer Vladimir Potapov, allows us to realize the painting as a defect of transparency. As such, it gives us the illusion of reality as a defect.
Volodya intriguing persistence of questioning on the grounds of art. He made a series of films about art interviews with various artists and critics, I was there from the beginning and saw him work as a modern research project. This is generally the actual work in the art field - research, knowledge production. He concentrated in the film are different opinions about the picturesque issues, this is not even there, where they teach academic painting. He listens to experts and does not cease to doubt - they are talking about ... well, it does not matter what they say, the main thing - what are silent. Silence, as you know, means consent - consent to understand things in a certain way. This is not a "conspiracy dedicated" as Baudrillard's just talk about why that is so clear? In any doctrine that justifies certain practices - medical, artistic, religious, there is a general understanding that resists literally. Medical standards, the death of art, the afterlife realm is not discussed in the determination mode. Convention on the silent discourse of art worth.
Potapov interest to the historical life of painting, with its cycles of death and resurrection is long and persistent - he has collected young artists and tried to understand why the painting is dead, and they have not. He made several exhibitions of painting - on the "Winery" on the "Factory", and then they went on the cultural capitals. He consistently went to his colorful layered transparency. In an effort to answer the question about the painting, explore the boundaries of its history and language, he moved to the field of pure practice and got to the universal structures of art, where the product finds its form and medium, depending on the paradigm which defines itself.
material taken from the site triumph-gallery.ru