Live in Jazz Style
Sooner or later there is a moment for all the real artists when the number of their meticulously counted exhibitions and the list of their works presented in more or less prestigious museums and collections cease to be the key acknowledgement of their success as an artist. The relevance and sense of their works are determined by the works themselves – quality becomes more important than quantity. The state of search gets to a new stage of confidence in the fact that the right art strategy has been selected. I believe these are the things that characterize Sergey Mosiyenko’s creative work today.
The artist has always stood out due to his pronounced creative manner. Over the recent years, he has remained one of the leaders in Siberian art and has been widening the range of his interests (posters, caricatures, scenography, book and magazine illustrations, easel graphic works, graphic design, etc.). Today, his work mainly involves painting but he manages to preserve those stylistic features of his art language which make his works modern, relevant, and fascinating. He incorporates some features and methods typical of graphics into painting together with his own ironic attitude towards things happening around us and, as a result, creates a kind of new “virtual reality” which reflects a complex outlook on the world by a millennial who is, as a rule, torn between confidence and doubt, information overload and the necessity of analytical asceticism for making up his mind, etc. This might have predetermined Mosiyenko’s desire to turn to biblical scenes which have become the key motif in the recent years. Such paintings reflect “pilgrimages to holy places”, to “places of art where it is still possible to make archeological discoveries and experience sublime emotions or intellectual meditations”. This must have enabled him to move over from his initial period, largely bred by pre-perestroika situation of bans, to the present period which is defined by artistic and technical features of his works. Contact with contemporary western art has resulted neither in pessimistic ideas, nor in desire to turn to more radical practices of artistic self-expression. On the contrary, such contact made Mosiyenko convinced that he’s chosen the right art strategy. The paradox around Mosiyenko’s paintings is that, on the one hand, they generally fit in the context of contemporary European art in terms of their artistic and technical features, style, exceptional technical completion, however, their informational and intellectual framework is bred by Russian culture. Aesthetic environment of his thoughts imprinted in his canvases is rich in the finest subtleties that can be perceived only in an attempt to decipher the logic of artist’s design. The artist has no intention to be liked by the beholder. He is engrossed in his own game of art. Yet, this continuous presence of artist’s personality interwoven with virtually perfect technical execution weaves its own special magic, which accounts for never-ending interest in artist’s works shown by audience comprised of many and various people ranging from highbrow intellectuals to rosy-cheeked housewives, from world-weary bohemians keen on provocative things to rationally thinking art dealers. I could now try to name five core factors shaping Mosiyenko’s creative path. They must be intellect, irony, eroticism, technical perfection, and virtuosity. The outcome depends on prevalence of one factor or combination of several of them.
But the main thing is beyond all that. No matter how often critics try to “dissect” artist’s works, there will still remain something intangible, magical, and elusive that the artist has held back. It is this “to-be-continued-effect” that makes us look forward to a new encounter, a new exhibition, new discoveries…