It seems that right after "Hearts of Four" in my sorrowful search happened an important turning point, and I finally managed to get rid of skulls, glass, bottles, vases and other dead nature.

It is interesting that I tried to do this for several years, but whatever I did, I ended up with a "Totenkopf" inside a still life.

It happens that the idea of how it should be is already here, but no matter how hard you try you cannot turn it in reality.

So today I even had the long-forgotten feeling that I can jump above the trees.

P.S. Format - 100x160cm

The most important question in contemporary art: are we making a table or not?

It sounds strange, but the table is the surface on which the action unfolds, so it is a stage.

Going deeper, the question is: "To be or not to be gravity?"

Without this element in the history of art survived only crazy ones, like futurists or abstract expressionists, in other words the most radical minimalists, whose searches were associated with a period of form-shaming, total tyranny of meaning (effects) over form.

Consequently, by refusing the table, we seem to assert our succession from radical minimalists, and by getting rid of gravity we are completely back to the primordial darkness, where the Universe has not yet become transparent, and there is no light at all. Hallo, Kasimir!

Without a surface, we affirm the dominance of the non-substantive over the substantial, what means that we are doing something what was relevant 100 years ago ...

But, first of all, we are not engaged in retro-practices, and secondly, we love and honor the form.

Moreover, the form is more important for us than the effects, which means that the table cannot be removed ... at least at this stage)

Do you love Giacometti as much as I love him?

The problem is that we can no longer say so and hardly ever will ...

We no longer love all these helpless hand-made: "as if the children are painting!"

All this, such a lovely once - richly covered with fingerprints and warts of incomprehensible nature – not cute anymore.

People now love reflective and smooth surfaces. Moreover, those that reflect not like Canova's and are smooth not like Bernini's, but the surfaces created by machines ...

Now they talk a lot about posthumanism, that the epoch after man comes.

But art is always a little ahead of any frostbitten paranoids and alarmists ...

In art, this is really what came after human.

So Koons or KAWS won't let me lie.

Through the prism of unprecedented events in the history of art happening just right now, before our eyes, it is finally becoming more understandable frequently asked question about hyperrealists: "Why do we need hyperrealism, if we have a photography?"

Because through hyperrealism we can display the triumph of returning to art THE SUBSTANTIALITY or THE FORM.

It is unnecessary to explain why we need a realistic form rendition, because we have already found out that form becomes more important than effects.

Naturally, the sculpture in this situation comes to the fore and becomes the most important of the plastic arts, but oil painting on canvas will not die as well.

Even the most advanced print will not force out painting from the market and exhibitions, because it is a unique artifact of art, unlike sculpture, which, no doubt, will be printed or cut out exclusively by machines.

Moreover, this is far from the only reason why painting will remain a collectible and a market product (:

The problem is that when the shape of the imaged becomes more important than the effects, the image inevitably tends to hyperrealism, and in hyperrealism completeness is not provided.

Instead - "done," hyperrealist says - "I've had enough".

When, with the products of the first hyperrealists, the substantial began to return to the visual arts in a certain quality - different from classicism - a new quality, it became clear that hyperrealism in fact run into the problem of resolution or detailing.

Anyone who sees the products of hyperrealists alive may find that the product is not finished, but simply an author for some reason decided to stop working at this stage.

Hyperrealist can work on the details endlessly, if he consistently increases the resolution, because he is not looking for any equilibrium, but on the contrary he sets up very radically. His interest lays in the super-image of the substantial, which acts as the main effect.

In products of hyperrealists, form seems to speak only about itself and nothing else, it avoids interpretations deliberately.

The hyperrealist cannot finish his product in the physical sense, because at some stage of the growth of the resolving power the substantial simply disappears and a completely different quantum world begins, roughly speaking, the world of electrons begins…

But instead of fighting in this world, we say to ourselves: "Enough with this crap!" and sign the work. All authors do it, regardless of the direction of their search, because only ambitious people are engaged in visual arts, they have a claim to defeat death and oblivion with their products.

The problem is that this stage of product readiness is just the first step towards the goal ...

We already know that there are now many millions of such ambitious authors, and any epoch contains no more than 300 living artists who came to success.

Therefore, if you are engaged in art, then, most likely, you will be a very poor man, or just a poor man, if you are relatively lucky and you will periodically find buyers for your products. The problem is that the exhibition activity, sale and promotion of authors on the market is a separate and very specific work, and if you start doing it yourself, then there is no time left to paint or sculpt there.

The chances of crossing with people who can do this particular work are rather low for each of us. In particular, if we were not born in New York or London, but for example, in some Kyrgyzstan ... oh yes.

But, nevertheless, the world is becoming increasingly connected, global and permeable for information, and the ability of authors to loudly declare themselves is constantly growing, which means that the chances of being lost among these millions of free artists slowly, but surely, decrease for each of us, don't they?