______________. – is the most natural way for the soul
to experience the whole range of passions and sensory experiences,
to get the experience for which it came to Earth
without violating someone else's free will.
to experience the whole range of passions and sensory experiences,
to get the experience for which it came to Earth
without violating someone else's free will.
______________. – is the most natural way for the soul
to experience the whole range of passions and sensory experiences,
to get the experience for which it came to Earth
without violating someone else's free will.
to experience the whole range of passions and sensory experiences,
to get the experience for which it came to Earth
without violating someone else's free will.
______________. – is the most natural way for the soul
to experience the whole range of passions and sensory experiences,
to get the experience for which it came to Earth
without violating someone else's free will.
to experience the whole range of passions and sensory experiences,
to get the experience for which it came to Earth
without violating someone else's free will.
Art
Art
_____________ – is the most natural way for the soul
to experience the whole range of passions and sensory experiences,
to get the experience for which it came to Earth
without violating someone else's free will.
to experience the whole range of passions and sensory experiences,
to get the experience for which it came to Earth
without violating someone else's free will.
_____________ – is the most natural way for the soul
to experience the whole range of passions and sensory experiences,
to get the experience for which it came to Earth
without violating someone else's free will.
to experience the whole range of passions and sensory experiences,
to get the experience for which it came to Earth
without violating someone else's free will.
_____________ – is the most natural way for the soul
to experience the whole range of passions and sensory experiences,
to get the experience for which it came to Earth
without violating someone else's free will.
to experience the whole range of passions and sensory experiences,
to get the experience for which it came to Earth
without violating someone else's free will.
Art
Art
_____________ – is the most natural way for the soul
to experience the whole range of passions and sensory experiences,
to get the experience for which it came to Earth
without violating someone else's free will.
to experience the whole range of passions and sensory experiences,
to get the experience for which it came to Earth
without violating someone else's free will.
_____________ – is the most natural way for the soul
to experience the whole range of passions and sensory experiences,
to get the experience for which it came to Earth
without violating someone else's free will.
to experience the whole range of passions and sensory experiences,
to get the experience for which it came to Earth
without violating someone else's free will.
_____________ – is the most natural way for the soul
to experience the whole range of passions and sensory experiences,
to get the experience for which it came to Earth
without violating someone else's free will.
to experience the whole range of passions and sensory experiences,
to get the experience for which it came to Earth
without violating someone else's free will.
Art
Art
____. – is the most natural way for the soul
to experience the whole range of passions
and sensory experiences,
to get the experience
for which it came to Earth
without violating someone else's free will.
to experience the whole range of passions
and sensory experiences,
to get the experience
for which it came to Earth
without violating someone else's free will.
____. – is the most natural way for the soul
to experience the whole range of passions
and sensory experiences,
to get the experience
for which it came to Earth
without violating someone else's free will.
to experience the whole range of passions
and sensory experiences,
to get the experience
for which it came to Earth
without violating someone else's free will.
Art
Art
MANIFESTO
______. like to think about what the first piece of art was like.
That it has come long before culture and science, writing, and even speech appearance.
At the moment when, perhaps, a prehistoric man, making his way through the thicket of the forest,
comes to the edge of a cliff, from the foot of which a valley stretches to the very horizon,
the sky above which is flooded with the rays of the setting sun, and the gaze of this man,
at first reflexively reacting to the “stimulus” , suddenly freezes under the hypnotic influence
of the colors spilled in the sunset sky.
Yes, the first work of art was not hand-made but it had already found its viewer, evoked emotions in him
and awakened feelings. And I like to think that this feeling was something like what will eventually be defined as "inspiration". And if this was so, then the first spectator was followed by the creator, because inspiration,
as a surge of creative energy, is impossible without the impulse to create.
And the stimulus for such metamorphoses was THE COLOR...
It is the Color,
as one of the most important components of the language of visual perception of the surrounding World;
as a way of interaction with this World and manifestation in it;
Color as a way of influencing the World - arouses my interest as an artist!
Starting my work, I often do not previously plan the composition and color palette that I will use.
On the contrary, all “rituals” are aimed at keeping the mind, calculation and analytics out of the process.
Their time will still come.
The beginning of the creation of each painting is an intuitive stage, the stage of maximum creative freedom.
At this stage, I am only the initiator of the process and the conductor of energies and states encoded in color. And the first stroke of paint left on a blank canvas is a declaration of intention to embark on a journey
into the unknown.
But art cannot be a mere accident, a “formation” spontaneously formed by chance.
Art must be grounded in the work, skill, technique and mastery of the artist applied to it.
And now the second stage of working on a painting is the use of technical skills. The task is to shape and emphasize the accents, to remove the "noise", to cut and polish what was "acquired" at the first stage of creating the painting.
But this emotionally vibrant process of my relationship with the painting ends at the moment when,
having applied the last stroke of paint to the canvas, the brush comes off the canvas.
The story of new relationships will be written between the picture and the viewer.
They will start their own dialogue and build their own emotional connection.
And the only way I want to influence this dialogue is my dream that the paintings will inspire the viewer,
and this special state will awaken in him the courage and determination to realize his own creative potential
to the maximum!
That it has come long before culture and science, writing, and even speech appearance.
At the moment when, perhaps, a prehistoric man, making his way through the thicket of the forest,
comes to the edge of a cliff, from the foot of which a valley stretches to the very horizon,
the sky above which is flooded with the rays of the setting sun, and the gaze of this man,
at first reflexively reacting to the “stimulus” , suddenly freezes under the hypnotic influence
of the colors spilled in the sunset sky.
Yes, the first work of art was not hand-made but it had already found its viewer, evoked emotions in him
and awakened feelings. And I like to think that this feeling was something like what will eventually be defined as "inspiration". And if this was so, then the first spectator was followed by the creator, because inspiration,
as a surge of creative energy, is impossible without the impulse to create.
And the stimulus for such metamorphoses was THE COLOR...
It is the Color,
as one of the most important components of the language of visual perception of the surrounding World;
as a way of interaction with this World and manifestation in it;
Color as a way of influencing the World - arouses my interest as an artist!
Starting my work, I often do not previously plan the composition and color palette that I will use.
On the contrary, all “rituals” are aimed at keeping the mind, calculation and analytics out of the process.
Their time will still come.
The beginning of the creation of each painting is an intuitive stage, the stage of maximum creative freedom.
At this stage, I am only the initiator of the process and the conductor of energies and states encoded in color. And the first stroke of paint left on a blank canvas is a declaration of intention to embark on a journey
into the unknown.
But art cannot be a mere accident, a “formation” spontaneously formed by chance.
Art must be grounded in the work, skill, technique and mastery of the artist applied to it.
And now the second stage of working on a painting is the use of technical skills. The task is to shape and emphasize the accents, to remove the "noise", to cut and polish what was "acquired" at the first stage of creating the painting.
But this emotionally vibrant process of my relationship with the painting ends at the moment when,
having applied the last stroke of paint to the canvas, the brush comes off the canvas.
The story of new relationships will be written between the picture and the viewer.
They will start their own dialogue and build their own emotional connection.
And the only way I want to influence this dialogue is my dream that the paintings will inspire the viewer,
and this special state will awaken in him the courage and determination to realize his own creative potential
to the maximum!
I
I
MANIFESTO
______. like to think about what the first piece of art was like.
That it has come long before culture and science, writing, and even speech appearance.
At the moment when, perhaps, a prehistoric man, making his way through the thicket of the forest,
comes to the edge of a cliff, from the foot of which a valley stretches to the very horizon,
the sky above which is flooded with the rays of the setting sun, and the gaze of this man,
at first reflexively reacting to the “stimulus” , suddenly freezes under the hypnotic influence
of the colors spilled in the sunset sky.
Yes, the first work of art was not hand-made but it had already found its viewer, evoked emotions in him and awakened feelings.
And I like to think that this feeling was something like what will eventually be defined as "inspiration". And if this was so, then the first spectator was followed by the creator, because inspiration, as a surge of creative energy, is impossible without the impulse to create.
And the stimulus for such metamorphoses was THE COLOR...
It is the Color,
as one of the most important components of the language of visual perception
of the surrounding World;
as a way of interaction with this World and manifestation in it;
Color as a way of influencing the World - arouses my interest as an artist!
Starting my work, I often do not previously plan the composition and color palette that I will use.
On the contrary, all “rituals” are aimed at keeping the mind, calculation and analytics
out of the process.
Their time will still come.
The beginning of the creation of each painting is an intuitive stage, the stage of maximum creative freedom. At this stage, I am only the initiator of the process and the conductor of energies and states encoded in color. And the first stroke of paint left on a blank canvas is a declaration
of intention to embark on a journey into the unknown.
But art cannot be a mere accident, a “formation” spontaneously formed by chance.
Art must be grounded in the work, skill, technique and mastery of the artist applied to it.
And now the second stage of working on a painting is the use of technical skills.
The task is to shape and emphasize the accents, to remove the "noise",
to cut and polish what was "acquired" at the first stage of creating the painting.
But this emotionally vibrant process of my relationship with the painting ends at the moment when, having applied the last stroke of paint to the canvas, the brush comes off the canvas.
The story of new relationships will be written between the picture and the viewer.
They will start their own dialogue and build their own emotional connection.
And the only way I want to influence this dialogue is my dream that the paintings will inspire the viewer, and this special state will awaken in him the courage and determination to realize his own creative potential to the maximum!
That it has come long before culture and science, writing, and even speech appearance.
At the moment when, perhaps, a prehistoric man, making his way through the thicket of the forest,
comes to the edge of a cliff, from the foot of which a valley stretches to the very horizon,
the sky above which is flooded with the rays of the setting sun, and the gaze of this man,
at first reflexively reacting to the “stimulus” , suddenly freezes under the hypnotic influence
of the colors spilled in the sunset sky.
Yes, the first work of art was not hand-made but it had already found its viewer, evoked emotions in him and awakened feelings.
And I like to think that this feeling was something like what will eventually be defined as "inspiration". And if this was so, then the first spectator was followed by the creator, because inspiration, as a surge of creative energy, is impossible without the impulse to create.
And the stimulus for such metamorphoses was THE COLOR...
It is the Color,
as one of the most important components of the language of visual perception
of the surrounding World;
as a way of interaction with this World and manifestation in it;
Color as a way of influencing the World - arouses my interest as an artist!
Starting my work, I often do not previously plan the composition and color palette that I will use.
On the contrary, all “rituals” are aimed at keeping the mind, calculation and analytics
out of the process.
Their time will still come.
The beginning of the creation of each painting is an intuitive stage, the stage of maximum creative freedom. At this stage, I am only the initiator of the process and the conductor of energies and states encoded in color. And the first stroke of paint left on a blank canvas is a declaration
of intention to embark on a journey into the unknown.
But art cannot be a mere accident, a “formation” spontaneously formed by chance.
Art must be grounded in the work, skill, technique and mastery of the artist applied to it.
And now the second stage of working on a painting is the use of technical skills.
The task is to shape and emphasize the accents, to remove the "noise",
to cut and polish what was "acquired" at the first stage of creating the painting.
But this emotionally vibrant process of my relationship with the painting ends at the moment when, having applied the last stroke of paint to the canvas, the brush comes off the canvas.
The story of new relationships will be written between the picture and the viewer.
They will start their own dialogue and build their own emotional connection.
And the only way I want to influence this dialogue is my dream that the paintings will inspire the viewer, and this special state will awaken in him the courage and determination to realize his own creative potential to the maximum!
I
I
MANIFESTO
______.. like to think about what the first piece of art was like.
That it has come long before culture and science, writing,
and even speech appearance.
At the moment when, perhaps, a prehistoric man, making his way
through the thicket of the forest, comes to the edge of a cliff,
from the foot of which a valley stretches to the very horizon,
the sky above which is flooded with the rays of the setting sun,
and the gaze of this man, at first reflexively reacting to the “stimulus”,
suddenly freezes under the hypnotic influence
of the colors spilled in the sunset sky.
Yes, the first work of art was not hand-made
but it had already found its viewer, evoked emotions in him
and awakened feelings. And I like to think that this feeling
was something like what will eventually be defined as "inspiration".
And if this was so, then the first spectator was followed by the creator,
because inspiration, as a surge of creative energy,
is impossible without the impulse to create.
And the stimulus for such metamorphoses was THE COLOR...
It is the Color,
as one of the most important components of the language
of visual perception of the surrounding World;
as a way of interaction with this World and manifestation in it;
Color as a way of influencing the World
- arouses my interest as an artist!
Starting my work, I often do not previously plan the composition
and color palette that I will use.
On the contrary, all “rituals” are aimed at keeping the mind,
calculation and analytics out of the process.
Their time will still come.
The beginning of the creation of each painting is an intuitive stage,
the stage of maximum creative freedom.
At this stage, I am only the initiator of the process
and the conductor of energies and states encoded in color.
And the first stroke of paint left on a blank canvas is a declaration
of intention to embark on a journey into the unknown.
But art cannot be a mere accident,
a “formation” spontaneously formed by chance.
Art must be grounded in the work, skill, technique
and mastery of the artist applied to it.
And now the second stage of working on a painting is the use
of technical skills. The task is to shape and emphasize the accents,
to remove the "noise", to cut and polish what was "acquired"
at the first stage of creating the painting.
But this emotionally vibrant process of my relationship
with the painting ends at the moment when,
having applied the last stroke of paint to the canvas,
the brush comes off the canvas.
The story of new relationships will be written between the picture
and the viewer. They will start their own dialogue
and build their own emotional connection.
And the only way I want to influence this dialogue is my dream
that the paintings will inspire the viewer, and this special state
will awaken in him the courage and determination
to realize his own creative potential to the maximum!
That it has come long before culture and science, writing,
and even speech appearance.
At the moment when, perhaps, a prehistoric man, making his way
through the thicket of the forest, comes to the edge of a cliff,
from the foot of which a valley stretches to the very horizon,
the sky above which is flooded with the rays of the setting sun,
and the gaze of this man, at first reflexively reacting to the “stimulus”,
suddenly freezes under the hypnotic influence
of the colors spilled in the sunset sky.
Yes, the first work of art was not hand-made
but it had already found its viewer, evoked emotions in him
and awakened feelings. And I like to think that this feeling
was something like what will eventually be defined as "inspiration".
And if this was so, then the first spectator was followed by the creator,
because inspiration, as a surge of creative energy,
is impossible without the impulse to create.
And the stimulus for such metamorphoses was THE COLOR...
It is the Color,
as one of the most important components of the language
of visual perception of the surrounding World;
as a way of interaction with this World and manifestation in it;
Color as a way of influencing the World
- arouses my interest as an artist!
Starting my work, I often do not previously plan the composition
and color palette that I will use.
On the contrary, all “rituals” are aimed at keeping the mind,
calculation and analytics out of the process.
Their time will still come.
The beginning of the creation of each painting is an intuitive stage,
the stage of maximum creative freedom.
At this stage, I am only the initiator of the process
and the conductor of energies and states encoded in color.
And the first stroke of paint left on a blank canvas is a declaration
of intention to embark on a journey into the unknown.
But art cannot be a mere accident,
a “formation” spontaneously formed by chance.
Art must be grounded in the work, skill, technique
and mastery of the artist applied to it.
And now the second stage of working on a painting is the use
of technical skills. The task is to shape and emphasize the accents,
to remove the "noise", to cut and polish what was "acquired"
at the first stage of creating the painting.
But this emotionally vibrant process of my relationship
with the painting ends at the moment when,
having applied the last stroke of paint to the canvas,
the brush comes off the canvas.
The story of new relationships will be written between the picture
and the viewer. They will start their own dialogue
and build their own emotional connection.
And the only way I want to influence this dialogue is my dream
that the paintings will inspire the viewer, and this special state
will awaken in him the courage and determination
to realize his own creative potential to the maximum!
I
I
MANIFESTO
__........ like to think about what the first piece of art was like.
That it has come long before culture and science, writing,
and even speech appearance.
At the moment when, perhaps, a prehistoric man, making his way
through the thicket of the forest, comes to the edge of a cliff,
from the foot of which a valley stretches to the very horizon,
the sky above which is flooded with the rays of the setting sun,
and the gaze of this man, at first reflexively reacting to the “stimulus”, suddenly freezes under the hypnotic influence of the colors spilled
in the sunset sky.
Yes, the first work of art was not hand-made but it had already found
its viewer, evoked emotions in him and awakened feelings.
And I like to think that this feeling was something like what will eventually be defined as "inspiration". And if this was so, then the first spectator was followed by the creator, because inspiration, as a surge of creative energy,
is impossible without the impulse to create.
And the stimulus for such metamorphoses was THE COLOR...
It is the Color,
as one of the most important components of the language
of visual perception of the surrounding World;
as a way of interaction with this World and manifestation in it;
Color as a way of influencing the World - arouses my interest as an artist!
Starting my work, I often do not previously plan the composition
and color palette that I will use. On the contrary, all “rituals” are aimed
at keeping the mind, calculation and analytics out of the process.
Their time will still come.
The beginning of the creation of each painting is an intuitive stage,
the stage of maximum creative freedom.
At this stage, I am only the initiator of the process and the conductor
of energies and states encoded in color. And the first stroke of paint
left on a blank canvas is a declaration of intention to embark on a journey
into the unknown.
But art cannot be a mere accident, a “formation” spontaneously formed
by chance. Art must be grounded in the work, skill, technique and mastery of the artist applied to it.
And now the second stage of working on a painting is the use of technical skills. The task is to shape and emphasize the accents, to remove the "noise", to cut and polish what was "acquired" at the first stage of creating
the painting.
But this emotionally vibrant process of my relationship with the painting ends at the moment when, having applied the last stroke of paint
to the canvas, the brush comes off the canvas.
The story of new relationships will be written between the picture
and the viewer. They will start their own dialogue and build their own emotional connection.
And the only way I want to influence this dialogue is my dream
that the paintings will inspire the viewer, and this special state will awaken in him the courage and determination to realize his own creative potential
to the maximum!
That it has come long before culture and science, writing,
and even speech appearance.
At the moment when, perhaps, a prehistoric man, making his way
through the thicket of the forest, comes to the edge of a cliff,
from the foot of which a valley stretches to the very horizon,
the sky above which is flooded with the rays of the setting sun,
and the gaze of this man, at first reflexively reacting to the “stimulus”, suddenly freezes under the hypnotic influence of the colors spilled
in the sunset sky.
Yes, the first work of art was not hand-made but it had already found
its viewer, evoked emotions in him and awakened feelings.
And I like to think that this feeling was something like what will eventually be defined as "inspiration". And if this was so, then the first spectator was followed by the creator, because inspiration, as a surge of creative energy,
is impossible without the impulse to create.
And the stimulus for such metamorphoses was THE COLOR...
It is the Color,
as one of the most important components of the language
of visual perception of the surrounding World;
as a way of interaction with this World and manifestation in it;
Color as a way of influencing the World - arouses my interest as an artist!
Starting my work, I often do not previously plan the composition
and color palette that I will use. On the contrary, all “rituals” are aimed
at keeping the mind, calculation and analytics out of the process.
Their time will still come.
The beginning of the creation of each painting is an intuitive stage,
the stage of maximum creative freedom.
At this stage, I am only the initiator of the process and the conductor
of energies and states encoded in color. And the first stroke of paint
left on a blank canvas is a declaration of intention to embark on a journey
into the unknown.
But art cannot be a mere accident, a “formation” spontaneously formed
by chance. Art must be grounded in the work, skill, technique and mastery of the artist applied to it.
And now the second stage of working on a painting is the use of technical skills. The task is to shape and emphasize the accents, to remove the "noise", to cut and polish what was "acquired" at the first stage of creating
the painting.
But this emotionally vibrant process of my relationship with the painting ends at the moment when, having applied the last stroke of paint
to the canvas, the brush comes off the canvas.
The story of new relationships will be written between the picture
and the viewer. They will start their own dialogue and build their own emotional connection.
And the only way I want to influence this dialogue is my dream
that the paintings will inspire the viewer, and this special state will awaken in him the courage and determination to realize his own creative potential
to the maximum!
I
I
MANIFESTO
_. like to think about what the first piece of art was like.
That it has come long before culture and science, writing, and even speech appearance.
At the moment when, perhaps, a prehistoric man, making his way through the thicket of the forest,
comes to the edge of a cliff, from the foot of which a valley stretches to the very horizon,
the sky above which is flooded with the rays
of the setting sun, and the gaze of this man,
at first reflexively reacting to the “stimulus” , suddenly freezes under the hypnotic influence
of the colors spilled in the sunset sky.
Yes, the first work of art was not hand-made
but it had already found its viewer, evoked emotions in him and awakened feelings.
And I like to think that this feeling was something like what will eventually be defined
as "inspiration". And if this was so, then the first spectator was followed by the creator,
because inspiration, as a surge of creative energy, is impossible without the impulse to create.
And the stimulus for such metamorphoses was THE COLOR...
It is the Color,
as one of the most important components
of the language of visual perception
of the surrounding World;
as a way of interaction with this World
and manifestation in it;
Color as a way of influencing the World - arouses my interest as an artist!
Starting my work, I often do not previously plan the composition and color palette that I will use.
On the contrary, all “rituals” are aimed
at keeping the mind, calculation and analytics
out of the process.
Their time will still come.
The beginning of the creation of each painting
is an intuitive stage, the stage of maximum creative freedom.
At this stage, I am only the initiator of the process and the conductor of energies and states encoded in color. And the first stroke of paint left
on a blank canvas is a declaration of intention
to embark on a journey into the unknown.
But art cannot be a mere accident, a “formation” spontaneously formed by chance.
Art must be grounded in the work, skill, technique and mastery of the artist applied to it.
And now the second stage of working
on a painting is the use of technical skills.
The task is to shape and emphasize the accents,
to remove the "noise", to cut and polish what was "acquired" at the first stage of creating
the painting.
But this emotionally vibrant process of my relationship with the painting ends
at the moment when, having applied the last stroke of paint to the canvas, the brush comes off the canvas.
The story of new relationships will be written between the picture and the viewer.
They will start their own dialogue and build their own emotional connection.
And the only way I want to influence this dialogue is my dream that the paintings will inspire the viewer, and this special state will awaken in him the courage and determination
to realize his own creative potential
to the maximum!
That it has come long before culture and science, writing, and even speech appearance.
At the moment when, perhaps, a prehistoric man, making his way through the thicket of the forest,
comes to the edge of a cliff, from the foot of which a valley stretches to the very horizon,
the sky above which is flooded with the rays
of the setting sun, and the gaze of this man,
at first reflexively reacting to the “stimulus” , suddenly freezes under the hypnotic influence
of the colors spilled in the sunset sky.
Yes, the first work of art was not hand-made
but it had already found its viewer, evoked emotions in him and awakened feelings.
And I like to think that this feeling was something like what will eventually be defined
as "inspiration". And if this was so, then the first spectator was followed by the creator,
because inspiration, as a surge of creative energy, is impossible without the impulse to create.
And the stimulus for such metamorphoses was THE COLOR...
It is the Color,
as one of the most important components
of the language of visual perception
of the surrounding World;
as a way of interaction with this World
and manifestation in it;
Color as a way of influencing the World - arouses my interest as an artist!
Starting my work, I often do not previously plan the composition and color palette that I will use.
On the contrary, all “rituals” are aimed
at keeping the mind, calculation and analytics
out of the process.
Their time will still come.
The beginning of the creation of each painting
is an intuitive stage, the stage of maximum creative freedom.
At this stage, I am only the initiator of the process and the conductor of energies and states encoded in color. And the first stroke of paint left
on a blank canvas is a declaration of intention
to embark on a journey into the unknown.
But art cannot be a mere accident, a “formation” spontaneously formed by chance.
Art must be grounded in the work, skill, technique and mastery of the artist applied to it.
And now the second stage of working
on a painting is the use of technical skills.
The task is to shape and emphasize the accents,
to remove the "noise", to cut and polish what was "acquired" at the first stage of creating
the painting.
But this emotionally vibrant process of my relationship with the painting ends
at the moment when, having applied the last stroke of paint to the canvas, the brush comes off the canvas.
The story of new relationships will be written between the picture and the viewer.
They will start their own dialogue and build their own emotional connection.
And the only way I want to influence this dialogue is my dream that the paintings will inspire the viewer, and this special state will awaken in him the courage and determination
to realize his own creative potential
to the maximum!
I
I
We barely remember
what came before this precious moment
what came before this precious moment
...choosing to be here right now
We barely remember
what came before this precious moment
what came before this precious moment
...choosing to be here right now
πνεῦμα
___________. — is an ancient Greek word for "breath",
and in a religious context for "spirit" or "soul".
In Stoic philosophy, pneuma is the concept of the "breath of life",
a mixture of the elements air (in motion) and fire (as warmth).
For the Stoics, pneuma is the active, generative principle that organizes both
the individual and the cosmos. In its highest form,
pneuma constitutes the human soul (psychê),
which is a fragment of the pneuma that is the soul of the Deity.
and in a religious context for "spirit" or "soul".
In Stoic philosophy, pneuma is the concept of the "breath of life",
a mixture of the elements air (in motion) and fire (as warmth).
For the Stoics, pneuma is the active, generative principle that organizes both
the individual and the cosmos. In its highest form,
pneuma constitutes the human soul (psychê),
which is a fragment of the pneuma that is the soul of the Deity.
Pneuma
Pneuma
πνεῦμα
___________ — is an ancient Greek word for "breath",
and in a religious context for "spirit" or "soul".
In Stoic philosophy, pneuma is the concept of the "breath of life",
a mixture of the elements air (in motion) and fire (as warmth).
For the Stoics, pneuma is the active, generative principle
that organizes both the individual and the cosmos.
In its highest form, pneuma constitutes the human soul (psychê),
which is a fragment of the pneuma that is the soul of the Deity.
and in a religious context for "spirit" or "soul".
In Stoic philosophy, pneuma is the concept of the "breath of life",
a mixture of the elements air (in motion) and fire (as warmth).
For the Stoics, pneuma is the active, generative principle
that organizes both the individual and the cosmos.
In its highest form, pneuma constitutes the human soul (psychê),
which is a fragment of the pneuma that is the soul of the Deity.
Pneuma
Pneuma
πνεῦμα
________...... — is an ancient Greek word for "breath", and in a religious context for "spirit"
or "soul".
In Stoic philosophy, pneuma is the concept
of the "breath of life", a mixture of the elements air (in motion) and fire (as warmth).
For the Stoics, pneuma is the active, generative principle that organizes both the individual
and the cosmos.
In its highest form, pneuma constitutes the human soul (psychê), which is a fragment of the pneuma that is the soul of the Deity.
or "soul".
In Stoic philosophy, pneuma is the concept
of the "breath of life", a mixture of the elements air (in motion) and fire (as warmth).
For the Stoics, pneuma is the active, generative principle that organizes both the individual
and the cosmos.
In its highest form, pneuma constitutes the human soul (psychê), which is a fragment of the pneuma that is the soul of the Deity.
___________ — древнегреческое слово, означающее «дыхание»,
а в религиозном контексте — «дух» или «душа».
В философии стоиков пневма — это понятие «дыхания жизни»,
смеси элементов воздуха (в движении) и огня (как тепла).
Для стоиков пневма — это активный, порождающий принцип,
организующий как личность, так и космос.
В своей высшей форме пневма представляет собой человеческую душу (psyche), которая является фрагментом пневмы, которая является душой Божества.
а в религиозном контексте — «дух» или «душа».
В философии стоиков пневма — это понятие «дыхания жизни»,
смеси элементов воздуха (в движении) и огня (как тепла).
Для стоиков пневма — это активный, порождающий принцип,
организующий как личность, так и космос.
В своей высшей форме пневма представляет собой человеческую душу (psyche), которая является фрагментом пневмы, которая является душой Божества.
Pneuma
Pneuma
CONCEPT
_____________________ of the exhibition includes 16 works:
2 premiere works have a title and description ("The Womb" and " The Birth").
The description immerses the viewer in the context.
Next 12 paintings have no description, and their names are deliberately hidden from the viewer.
The viewer, passing by them, independently interprets the plot.
2 final works, like the premiere ones, have a name and description (“Entropy” and “Unity”).
Their description is aimed at “finalizing” the spectator’s experience,
collecting it to a certain denominator.
All works, except the final two, have a size of 100x100 cm.
The size of the final work is 120x150 cm.
Material: canvas, acrylic.
2 premiere works have a title and description ("The Womb" and " The Birth").
The description immerses the viewer in the context.
Next 12 paintings have no description, and their names are deliberately hidden from the viewer.
The viewer, passing by them, independently interprets the plot.
2 final works, like the premiere ones, have a name and description (“Entropy” and “Unity”).
Their description is aimed at “finalizing” the spectator’s experience,
collecting it to a certain denominator.
All works, except the final two, have a size of 100x100 cm.
The size of the final work is 120x150 cm.
Material: canvas, acrylic.
The Exposition
The Exposition
CONCEPT
____________________ of the exhibition includes 16 works:
2 premiere works
have a title and description ("The Womb" and " The Birth").
The description immerses the viewer in the context.
Next 12 paintings have no description, and their names are deliberately hidden from the viewer.
The viewer, passing by them, independently interprets the plot.
2 final works
like the premiere ones, have a name and description (“Entropy” and “Unity”).
Their description is aimed at “finalizing” the spectator’s experience,
collecting it to a certain denominator.
All works, except the final two, have a size of 100x100 cm.
The size of the final work is 120x150 cm.
Material: canvas, acrylic.
2 premiere works
have a title and description ("The Womb" and " The Birth").
The description immerses the viewer in the context.
Next 12 paintings have no description, and their names are deliberately hidden from the viewer.
The viewer, passing by them, independently interprets the plot.
2 final works
like the premiere ones, have a name and description (“Entropy” and “Unity”).
Their description is aimed at “finalizing” the spectator’s experience,
collecting it to a certain denominator.
All works, except the final two, have a size of 100x100 cm.
The size of the final work is 120x150 cm.
Material: canvas, acrylic.
____________________. of the exhibition includes 16 works:
2 premiere works
have a title and description ("The Womb" and " The Birth").
The description immerses the viewer in the context.
Next 12 paintings have no description,
and their names are deliberately hidden from the viewer.
The viewer, passing by them, independently interprets the plot.
2 final works,
like the premiere ones, have a name and description
(“Entropy” and “Unity”).
Their description is aimed at “finalizing” the spectator’s experience,
collecting it to a certain denominator.
All works, except the final two, have a size of 100x100 cm.
The size of the final work is 120x150 cm.
Material: canvas, acrylic.
2 premiere works
have a title and description ("The Womb" and " The Birth").
The description immerses the viewer in the context.
Next 12 paintings have no description,
and their names are deliberately hidden from the viewer.
The viewer, passing by them, independently interprets the plot.
2 final works,
like the premiere ones, have a name and description
(“Entropy” and “Unity”).
Their description is aimed at “finalizing” the spectator’s experience,
collecting it to a certain denominator.
All works, except the final two, have a size of 100x100 cm.
The size of the final work is 120x150 cm.
Material: canvas, acrylic.
The Exposition
The Exposition
CONCEPT
_______________. выставки состоит из 16 работ:
2 премьерные работы,
которые имеют название и описание ( “Лоно”, “Рождение” ).
Описание погружает зрителя в контекст.
Далее 12 картин, которые не имеют описания, а их названия умышленно скрываются
от зрителя. Зритель проходя мимо них самостоятельно интерпретирует сюжет.
2 финальные работы.
Они, так же как и премьерные, имеют название и описание ( “Энтропия”, “Единение” ).
Их описание направлено на то, чтоб “финализировать” зрительский опыт,
собрать его к определенному знаменателю.
Все работы, кроме финальных двух, имеют размер 100х100 см.
Размер финальных работ - 120х150 см.
Материал: холст, акрил.
2 премьерные работы,
которые имеют название и описание ( “Лоно”, “Рождение” ).
Описание погружает зрителя в контекст.
Далее 12 картин, которые не имеют описания, а их названия умышленно скрываются
от зрителя. Зритель проходя мимо них самостоятельно интерпретирует сюжет.
2 финальные работы.
Они, так же как и премьерные, имеют название и описание ( “Энтропия”, “Единение” ).
Их описание направлено на то, чтоб “финализировать” зрительский опыт,
собрать его к определенному знаменателю.
Все работы, кроме финальных двух, имеют размер 100х100 см.
Размер финальных работ - 120х150 см.
Материал: холст, акрил.
_______________,.. выставки состоит из 16 работ:
2 премьерные работы,
которые имеют название и описание ( “Лоно”, “Рождение” ).
Описание погружает зрителя в контекст.
Далее 12 картин, которые не имеют описания, а их названия умышленно скрываются
от зрителя. Зритель проходя мимо них самостоятельно интерпретирует сюжет.
2 финальные работы.
Они, так же как и премьерные, имеют название и описание ( “Энтропия”, “Единение” ).
Их описание направлено на то, чтоб “финализировать” зрительский опыт,
собрать его к определенному знаменателю.
Все работы, кроме финальных двух, имеют размер 100х100 см.
Размер финальных работ - 120х150 см.
Материал: холст, акрил.
2 премьерные работы,
которые имеют название и описание ( “Лоно”, “Рождение” ).
Описание погружает зрителя в контекст.
Далее 12 картин, которые не имеют описания, а их названия умышленно скрываются
от зрителя. Зритель проходя мимо них самостоятельно интерпретирует сюжет.
2 финальные работы.
Они, так же как и премьерные, имеют название и описание ( “Энтропия”, “Единение” ).
Их описание направлено на то, чтоб “финализировать” зрительский опыт,
собрать его к определенному знаменателю.
Все работы, кроме финальных двух, имеют размер 100х100 см.
Размер финальных работ - 120х150 см.
Материал: холст, акрил.
_______________,.. выставки состоит из 16 работ:
2 премьерные работы,
которые имеют название и описание ( “Лоно”, “Рождение” ).
Описание погружает зрителя в контекст.
Далее 12 картин, которые не имеют описания,
а их названия умышленно скрываются от зрителя.
Зритель проходя мимо них самостоятельно интерпретирует сюжет.
2 финальные работы.
Они, так же как и премьерные, имеют название и описание
( “Энтропия”, “Единение” ).
Их описание направлено на то, чтоб “финализировать” зрительский опыт,
собрать его к определенному знаменателю.
Все работы, кроме финальных двух, имеют размер 100х100 см.
Размер финальных работ - 120х150 см.
Материал: холст, акрил.
2 премьерные работы,
которые имеют название и описание ( “Лоно”, “Рождение” ).
Описание погружает зрителя в контекст.
Далее 12 картин, которые не имеют описания,
а их названия умышленно скрываются от зрителя.
Зритель проходя мимо них самостоятельно интерпретирует сюжет.
2 финальные работы.
Они, так же как и премьерные, имеют название и описание
( “Энтропия”, “Единение” ).
Их описание направлено на то, чтоб “финализировать” зрительский опыт,
собрать его к определенному знаменателю.
Все работы, кроме финальных двух, имеют размер 100х100 см.
Размер финальных работ - 120х150 см.
Материал: холст, акрил.
____________________.
of the exhibition includes 16 works:
2 premiere works
have a title and description
("The Womb" and " The Birth").
The description immerses the viewer in the context.
Next 12 paintings have no description,
and their names are deliberately hidden
from the viewer.
The viewer, passing by them, independently interprets the plot.
2 final works,
like the premiere ones, have a name and description (“Entropy” and “Unity”).
Their description is aimed at “finalizing” the spectator’s experience, collecting it to a certain denominator.
All works, except the final two,
have a size of 100x100 cm.
The size of the final work is 120x150 cm.
Material: canvas, acrylic.
of the exhibition includes 16 works:
2 premiere works
have a title and description
("The Womb" and " The Birth").
The description immerses the viewer in the context.
Next 12 paintings have no description,
and their names are deliberately hidden
from the viewer.
The viewer, passing by them, independently interprets the plot.
2 final works,
like the premiere ones, have a name and description (“Entropy” and “Unity”).
Their description is aimed at “finalizing” the spectator’s experience, collecting it to a certain denominator.
All works, except the final two,
have a size of 100x100 cm.
The size of the final work is 120x150 cm.
Material: canvas, acrylic.
The Exposition
The Exposition
CONTACTS
dmitriy.usenko.art@gmail.com
dmitriy.usenko.art@gmail.com
CONTACTS
dmitriy.usenko.art@gmail.com
dmitriy.usenko.art@gmail.com