THE DRAWN MAN, THE MAN WHO HAS CHANGED HIS OUTLINES
Esentai Gallery, in collaboration with TSE Art Destination, presents new works by Nikolay Gazeyev, which the artist has been working on since 2013, with the common theme: "The drawn man, the man who has changed his outlines".
“The encounter with the Other, the otherness, is always an ordeal: it can take many forms on the spectrum from 'love at first sight' to hatred bordering on disgust. Whether it disturbs us or pleasantly excites us, it necessarily shakes us to our core, makes us anxious - etymologically: the Other robs us of our peace of mind. Because it is distressing, human consciousness tries to rationalize the experience, to deprive it of so much influence by labeling and qualifying it with which it gains control: to name a problem is to believe in the ability to solve it.
The artist explores “the drawn man” as an independent form of existence. Who or what do we see? Can we trust our feelings? "The drawn man" is in tune with the natural flow of life. Each work is a space of organic creation, where from the initial energy impulse, following its internal laws, the universe begins to expand. The two-dimensional surface breathes: a point, moving, becomes a line. Lines form into figures that differ by their very nature from the usual images that can be easily identified. We are dealing with a "living organism," which is, however, outside the field and the issues of realistic representation. Moreover, the latter is not characterized by belonging to an item scope; it is a subject in itself, which makes it even more difficult to refer it to a specific category of traditional visual imagery.
Nevertheless, according to the mechanisms of the psyche described above, everyone looks for something in it that evokes personal associations. Pareidolia is a process under visual or auditory stimuli in which we discover familiar shapes in abstract spots, a voice in unintelligible noise, or words (usually in a native language) in a song or speech in a language we do not understand. Once in front of the picture, you can try to let go of your rational part, and for a time immerse oneself in what are known as pareidolic illusions or "sensory illusions of addition." Their essence is the formation of illusory images on the basis of really existing objects: a vague visual image is perceived as something distinct and definite - it is worth remembering how as children we guess the figures of people, animals, or fairy creatures in clouds, the shadows cast by trees in the garden, in the starry sky, or on a carpet. In this way, by continuously changing his outlines, as well as through his fluidity, the man in the picture unwittingly becomes a guide to the world of the unconscious for the human spectator, becoming briefly a visualized projection of his inner self; both certainly recognize themselves better, experiencing a moment of metamorphosis, after which neither of them will remain the same." - (сurator Madina Sergazina)
The drawn man, the man who has changed his outlines (the man among the incompletely named, not clearly defined forms-outlines)
In my, more arbitrary drawing, from image to image, a man built himself, outside the usual and familiar appearance and rhythm of life, a man outside the rules of our life (all that is man outside man) avoiding, doubting man, not trusting himself in man in his present day)
(I ask myself what this person might be about), what it is, purely a figment of my own imagination, drawing art, or it is, literally, a visible awareness that the man, in the full sense of the word, has changed his outlines, is capable of changing outlines, as if the person has changed his rhythm, goals, desires and direction of his path.
It is possible that the person I am trying to envision and imagine is more a person of space, at first glance not existing, but whose presence we somehow feel – as a space of incompletely named, undefined forms-outlines, as a transition to the space of stable forms. And, for some reasons and conditions of this space, it is possible to perceive a person in it, first dividing him, as an image, into a person proper – a man himself, into the external appearance of this person, existing separately from him, and his, this person’s, own outline, an outline as quite possible, but by no means final (as a person's view of himself from outside). And everyone among them will have their own opinion, notion about this person, about the person to whom they actually belong, and their opinions can be different (like opinions about a person are divided) and it is possible that he, their “common” person now, will be in some way unknown to himself, not recognized by himself, and as a person neutral to everything happening now about him, will have to ask himself to what extent among the incompletely named, not clearly defined, he is possible, logical, coherent about himself.
And how to imagine one and another outline, subsequently, one and another person, and how among this space to imagine, to see the outline, the external appearance of a woman (as if we have decided that she was in front of our eyes), and from the undecided about her, to pass to her external appearance as completely named, to imagine her actual features, no one doubts her external appearance, the timbre of her voice, the movement-gesture, the inclination of her head - she is recognizable, and how, she is now the only possible woman about herself, or by her own carelessness, by some ridiculous accident, among the space of still unresolved, remained her missing features.
Will it not turn out that among the inconclusive about her, among the arbitrary and accidental, she was more authentic about herself, and that now in her features, in her appearance, one can discern some features that are missing from her now, that were so peculiar, natural and characteristic about her before.