“Triple Memory” is an attempt to understand one's contemporaneity (contemproranity), immersion in our historical layers, which the artist experienced himself or observed through his fathers and grandfathers, literature and music.
If we focus on chronology, then we can remember: its measure is a century. First-year history students are told that history is measured over centuries not only by the convenience of the decimal system. One hundred years is three generations, from grandfather to grandson, that is, the time of living memory: about what happened a hundred years ago, a person can still hear from living witnesses.
In the works of Orazbek, one can see the painful tragic events of our past through complex multi-figured compositional solutions. The figures are elongated in long prominences in the desire to take off, or twisted in tight spirals from pain and thirst. In this struggle, the game of life and death, there are no main characters, as well as it is difficult to distinguish between good and evil.
According to the author: “the search for identity as a historical construct is inevitable. It is impossible to amnesty the past without understanding it, without admitting our mistakes, without identifying pain points ... that and who we are today is the result of the past .... ”.
And yet, the hope for order and justice remains, as is the traditional archetypal interpretation of space - the upper, middle, lower worlds. And even though they sometimes change places, this trinity remains unchanged in its composition, which means “the harmony of life is inevitable.” But how to achieve it ?! - this is the artist's main question.
* * *
Orazbek Esenbayev, painter and graphic artist, member of the Union of Artists, was born in 1960 in Kyzylorda, lives in Almaty. Graduated from the Almaty Theater and Art Institute (1993). Esenbaev is an artist with a unique ability to observe and accurately recreate the environment. His artistic style is close to traditional realism, but he does not oppose it to abstractionism. Transforming subconscious images into visual form uses more imagination than careful planning. Works very quickly, spontaneously, right on the canvas, without sketches. This kind of spontaneity takes skill. In recent years, experimenting with the author's technique "ballpoint pen on silk fabric", the painter turned to graphics. In a series of graphic works exhibited at the Moscow Art Salon in March 2016, he creates a convincing image of the Soviet era with good irony. This was the first international success of Esenbayev at the level of the Confederation of Artists' Unions of the CIS countries.