Ocher Kandinsky-DAE

born in XX century
1. Curriculum Vitae.

Kandinsky-DAE Alexander Ocher
Born in Russia, in the city of Ocher, 1957, August 26. An orphan.
1969-1973 - Children's Art School, teacher S. A. Borkovsky.
1973-1977 - Nizhny Tagil, graphic arts department of the Pedagogical Institute, teacher V.N. Pryanishnikov.
1972-1975 - summer period, internship in Moscow with E. A. Kibrik.
1978-1980 - service in the armed forces of Russia, air defense.
1981-1987 - higher thin. College of them. Mukhina, workshop of Demin.
1982 -1985 - summer period, internship with Dr. E. E. Brader, Lyon, France,
1987 -1992 - studied and worked abroad.
1990 - The Sorbonne. PhD degree defense. Subject: French half-light, DAE effect.
2016 - The Sorbonne. Doctoral degree defense. Subject: Expressive sublimatism, and its multiple currents.

2. The direction of creativity.

Since 1975, Kandinsky-DAE A.O. is the founder of a new direction in World Painting "Expressive sublimatism."

The ratio of light relations is proportional to color relations, it is equal to: perspective modulations of the central plastic aspects of the light flow, which are: synthesized in the subconscious, world-sensory perceptions of the peripheral and central nervous system of the human body, further: they are pushed out by peculiar behavioral motor-psychopathic energy-balanced guides of each individual individual.
The ratio of color streams is proportional to color ratios. Light gives rise to color. Color gives rise to vibrations. Vibrations give rise to movement. A movement gives birth to a model - a behavioral model, or any other ..., ... and so on and so forth.

A bunch of sublimative / sublimations as characteristics / characteristics interconnected by light-color plastic, spatio-temporal aspects, psychogenic perception of the surrounding space, affecting the subconscious of the individual, forcing him to perceive painting as a means of ejection, outside, inside, personal experiences. ... streams are being modernized, thanks to experienced life's upheavals, into powerful light-color fields (red, blue, yellow, black, green, white) ... color fields that are clearly separated by local zones of certain parts of the brain are responsible for a particular color.
The influence of color, transformed by light fluxes, depends on time characteristics; time of year, time of day, emotional state, balance of mental overload, as well as a light bulb, the sun, glare, reflexes, twilight, complete darkness - as well as pain, joy, pleasure, hatred, indifference.
All of the above can be multiplied by psychogenesis. Divide into the influence of the external and internal environment, compressed by the time frame of the past, future and present. This is what makes it possible to paint pictures in any temporal spatial context, without taking into account the reality of the present, past or future.

Layout No. 1341
... vibrations, modulations and their relationships. (Light-color flows, light-color plastic ...)
If we take color as something vibrating (under the influence of light), then the plane of the canvas in the inner space of the frame, the surface of the wall, the plane of the ceiling, or something else (among which the color is located) are completely static, that is, metaphysical. All spatial planes with their statics give the color additional vibration, if not tougher, a complete hundred percent vibration. (It seems like cold-hot, light-dark, etc.) These opposites at a subconscious level give rise to a specific and exceptional movement. The eye does not see this movement. For the eye, the color is perfectly static and, moreover, monumental. Therefore, there is a separation, subconscious, of pure colors, plus, the perception of each color separately, that is, locally. The subconscious mind does not share mixed colors, and for this reason it does not perceive, hence the lack of dynamics, that is, expression. Any canvas painted in mixed colors can be considered dead born, deprived of life, incapable of influencing human perception, inner awareness and contemplation. Happens - TOTAL NO FEEDBACK. This is precisely what ultimately deprives the viewer of empathy, impoverishes him spiritually. Thus, the viewer is not able to participate in the creative process.
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