Vladimir Yakobchuk correct paper. With all the love and experimental techniques of oil painting, he is constantly drawn to watercolors. The large format and the title work of this exhibition proves the power and scale that this painting technique can implement in the hands of a master. Global watercolor rare in European art, rather they are typical of the Asian tradition that considers different possibilities of paper and watercolors, far beyond the chamber of the Cabinet works.
15 metres per second to Beaufort scale, which measures the strength of the wind from dead calm to hurricane, defined as "strong wind", when the waves of the sea piled up, the combs are broken, swinging tree trunks, large branches bend and it is difficult to go against the wind. It is not only autumn picture with the leaves falling, but a kind of allegory of the way in art, life path challenges and natural losses. In place skryvavshegosya sheet on the color field is white gaping void...
Sophisticated color palette is achieved by laborious and time-consuming process of watercolor layered coatings with a periodic cleaning to give the necessary transparency and compatibility of shades. Watercolor is represented not as easy momentary sketch, but as a serious laborious work. Colors are gentle and at the same time causes, natural and unnatural at the same time. Stress, minor and light notes of hope.
The artist managed to convey a sense of flight and movement. The leaves come off, but the wind did not have time to fall down and begin a horizontal spinning. They seem to highlight, grab a piece of air behind him, the space deepens and acquires texture, which gradually dissolves and fades away. The manner of presentation of paintings, intentionally ripped off the wall, highlights this effect.
Other graphic works presented at the exhibition also show the image of the texture space. Monochrome raster line in spherical intersections are formed in shapes of faces and skulls. Traditional models that depict the artists, but again emotionally "autumn" "fall" color.
Another way the author shows in the albums of sketches, which become full-fledged representatives of the genre "artist's book". Here a riot of life. The ancient casts of the packages of yogurt, cheerful cans and potted plants, portraits of friends and met in a cafe of strangers, bright blots and fluorescence-acid color spot to escape from the consciousness of the artist and marking the space and the surrounding reality. And again play with techniques and materials. Such watercolor effects are achieved with gel pens and markers. And again attempt to make a flat paper surface properties of a hologram illusion of 3D depth. Hence, absolutely natural follows the appearance of a voluminous exposition of plastic art.
Sculptor Andrew Khreschate supported "paper" history of Vladimir Yakobchuk feature. The sculpture refers to the famous monument of the Bremen town musicians lined up in the sports pyramid on the backs of each other, and to the ancient totem poles. However, this totem is made not of wood or stone, and modern artificial materials. Black rubber-plastic die seem to be weaves or charred a shiny crust, and sprinklings of blood-red color give a "cute" animal aggressive vitality and sacrifice. Artists, fighters and patrons of the family or going to the slaughter? Symbolic line, set "strong wind on the Beaufort scale", gets development, and the exhibition, which opens "so harmless" autumn leaves philosophical depth and ambiguity.
Artem Magalashvili, art critic, candidate of philological Sciences, head of scientific and exposition Department of the State Museum of urban sculpture