Vitaly Pushinsky
NY Arts
The young artist spent several years studying the trends and techniques governing Western art, namely Pop art, mail art, post-modernism, video- and multimedia art, assemblages, objects, installations, digital photography. The speed and consistency of the movement was engrossing. Pushinsky is not an artist of one felicitous change-ringing technique. Having mastered one technique he turns to another. The topical subjects he develops do not purport to relegate him to the modern art. He does not regard content as a block of sheer information. Rather, it comes from his personal experiences, observations and thoughts.
NY ARTS: Can you elaborate on your Women’s Dreams objects project?
Pushnitsky: Mounting is conceptual in my work. Ordinary (planar) photographs are confined to a plane. Each of my works by way of mounting becoms a three-dimensional object. I turn a photograph to sculpture and assemble concepts. A simple manipulation serves as the key to reading the art-piece. [I use] liquid preservative to conserve a photograph, creating yet another lens for angle refraction. This being part of the game, I intuitively add liquid to form a supplementary corrosive medium for the photograph, which can change the situation unpredictably.
NY ARTS: What about the frottages from the Tombstones series?
Pushnitsky: What else can be more sacral than death? This event has always been crucial with every culture. Cemeteries, tombstones, sarcophagi, shrines- these are the cultural symbols of death that emblematize a lifespan. The series encompasses two projections: one is a life-size frottage of a tombstone, the other is an unknown documentary frame. It is the word unknown that is central both to tombstones and records. Two images got entwined: the canonically static and the accidental.
Courtesy of www.russkialbum.ru
