Nebographics

Losing one’s way in one’s own city is practically impossible: it takes a Benjamin-like flâneur's skill to stray from the familiar routes. Wandering, wandering aimlessly, is a task hardly feasible for the modern city dweller; a solitary stroll is more a literary attribute, the faithful companion of romantics and melancholics than of those rushing about on urgent matters.

The comparison with minimalism is far from accidental here. Ksuta’s works exist in a series, essentially the same motif subject to endless natural variation—the artist deliberately economizes on artistic resources, simultaneously enhancing the effect of recognizing more than just concrete electrical wires in abstract lines and spirals. It is precisely this seriality that engenders a different energy and movement; the alternation of zones of density and rarefaction establishes a certain dynamic; the viewer is guided not by the logic of reality, but by the spatial arrangement of each composition. In a certain sense, Ksuta does not construct a photographic frame; that is, he works not only with the proportions, volumes, and density of real objects, but solves purely artistic problems, as if he were free to delineate the city skyline, apply a line of the desired thickness, and create or break symmetry. Few have allowed themselves such "freedom," reshaping visible reality, including Alexander Rodchenko and László Moholy-Nagy, who transformed photography into a fully-fledged artistic medium, opening up as many possibilities for the artist’s imagination as traditional painting and graphics.