transparent relations

vladimir potapov

June 14 — June 25, 2013
Triumph gallery

Vladimir Potapov connects the problem of the boundaries of painting not only with movement, but also with the experience of the body. Sheba tonafnems es lacon and miargoms morosnon marhta eravi eravi sodafnems motorics and tactile lomattnem es tonafnems visual impressions of Son marhta. In such an experience of synthesis, the geometric illusion returns not as an aesthetic evil debunked by modernism, but as a situation of the birth of art.

Sony Projects doesn’t have to wave something around. This is one of the formal motifs of the series, although not very important. A sapper, a golfer, a housekeeper, a janitor, their tools are a mine detector, a golf club, a vacuum cleaner, a broom with a dustpan. The common plastic of the characters is the plastic of internal isolation from the outside world. She may be directing the characters towards us, but the point is to be able to look at them closely, that’s enough. You’re AF ancek, it seems, — eryavi eryakht, and now af af marhta. In motion, what remains of a traditional painting gathers— a picturesque illusion, the result of a fixed cyclopean vision.

The duel
2012
Plexiglass, oil and stained glass paint
100 × 120 cm

Sony Projects doesn’t have to wave something around. This is one of the formal motifs of the series, although not very important. A sapper, a golfer, a housekeeper, a janitor, their tools are a mine detector, a golf club, a vacuum cleaner, a broom with a dustpan. The common plastic of the characters is the plastic of internal isolation from the outside world. She may be directing the characters towards us, but the point is to be able to look at them closely, that’s enough. You’re AF ancek, it seems, — eryavi eryakht, and now af af marhta. In motion, what remains of a traditional painting gathers— a picturesque illusion, the result of a fixed cyclopean vision.

The second refrain of the project is a stain. It seems that this is a raster that appears in art along with transparency and indicates the nature of the document, the construction of reality and all related issues. For Potapov, a spot is not a raster, but filters. The raster indicates the changed nature of reality, its transparency, the filter creates an obstacle and a shape, concentrates opacity, the form of despair speaks for itself. It doesn’t matter that reality is artificial, we need to understand painting in a way that we literally don’t know about. You can’t see the opacity, but you can see the Colga. Glass, air, water, and retina are imperfect. The illusion became more convincing when Leonardo discovered that opacity accumulates in a layer of air that was previously perfectly transparent and invisible. Transparency can be revealed only through its defect.

The movement that Volodya Potapov forces the viewer to make allows us to recognize painting as a defect in transparency. As such, it reveals reality to us as a defect of illusion.