"PNEUMA"

PNEUMA — 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.

πνεῦμα

PNEUMA — 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.

PNEUMA — 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.

The two paintings to begin the dialogue of the artist with his viewer
are a kind of visual prologue conceived by the author for the subsequent "narration".

On the first canvas there is a figure in the centre, the soft blurred outlines of which
are just beginning to form from the turquoise-blue space surrounding it,
and the first impression of a certain, still sleeping, equilibrium gives the viewer time
to see a kind of three-dimensional "holographic" effect at a certain moment,
as if the constituent parts, which are at different levels, are trying to find an identical form
and become the whole one.

Through the plot and colour palette, the author seems to invite the viewer to experience
a state of weightlessness, a state that one experiences being immersed in the waters of the Ocean,
when it carefully sways us on its waves.
And this association with the Ocean and the state of weightlessness is not accidental.
On a spiritual level, the "ocean" as a symbol is the element from which all life emerges.
Formless and inexhaustible primary source of life.
It personifies the emotional and feminine and not only gives life, but also supports it.

Let us turn to the symbolism of the blue colour dominating in the work.
Blue is a symbol of stability, reliability and purity.
It is associated with a sense of serenity, harmony and tranquility.

But only the environment will remain peaceful and unhurried in the picture,
within which the process of synthesis has already begun, when the energetic,
informational and spiritual, losing their weightlessness, strive, already on the biological level,
to become one whole.
Striving to become the Living.

The Womb is the title of the work that opens the exhibition.

The two paintings to begin the dialogue of the artist with his viewer
are a kind of visual prologue conceived by the author
for the subsequent "narration".

On the first canvas there is a figure in the centre, the soft blurred outlines
of which are just beginning to form from the turquoise-blue space
surrounding it, and the first impression of a certain, still sleeping,
equilibrium gives the viewer time to see a kind of three-dimensional
"holographic" effect at a certain moment, as if the constituent parts,
which are at different levels, are trying to find an identical form
and become the whole one.

Through the plot and colour palette, the author seems to invite the viewer
to experience a state of weightlessness, a state that one experiences
being immersed in the waters of the Ocean, when it carefully sways us
on its waves.
And this association with the Ocean and the state of weightlessness
is not accidental. On a spiritual level, the "ocean" as a symbol is the element
from which all life emerges.
Formless and inexhaustible primary source of life.
It personifies the emotional and feminine and not only gives life,
but also supports it.

Let us turn to the symbolism of the blue colour dominating in the work.
Blue is a symbol of stability, reliability and purity.
It is associated with a sense of serenity, harmony and tranquility.

But only the environment will remain peaceful and unhurried in the picture,
within which the process of synthesis has already begun, when the energetic,
informational and spiritual, losing their weightlessness, strive,
already on the biological level, to become one whole.
Striving to become the Living.

The Womb is the title of the work that opens the exhibition.

The two paintings to begin the dialogue
of the artist with his viewer are a kind
of visual prologue conceived by the author
for the subsequent "narration".

On the first canvas there is a figure in the centre,
the soft blurred outlines of which are just
beginning to form from the turquoise-blue space
surrounding it, and the first impression
of a certain, still sleeping, equilibrium
gives the viewer time to see a kind
of three-dimensional "holographic" effect
at a certain moment, as if the constituent parts,
which are at different levels, are trying to find
an identical form and become the whole one.

Through the plot and colour palette, the author
seems to invite the viewer to experience a state
of weightlessness, a state that one experiences
being immersed in the waters of the Ocean,
when it carefully sways us on its waves.
And this association with the Ocean
and the state of weightlessness is not accidental.
On a spiritual level, the "ocean" as a symbol
is the element from which all life emerges.
Formless and inexhaustible primary source
of life. It personifies the emotional and feminine
and not only gives life, but also supports it.

Let us turn to the symbolism of the blue colour
dominating in the work.
Blue is a symbol of stability, reliability
and purity. It is associated with a sense
of serenity, harmony and tranquility.

But only the environment will remain peaceful
and unhurried in the picture, within which
the process of synthesis has already begun,
when the energetic, informational and spiritual,
losing their weightlessness, strive, already
on the biological level, to become one whole.
Striving to become the Living.

The Womb is the title of the work
that opens the exhibition.

The two paintings to begin the dialogue of the artist
with his viewer are a kind of visual prologue
conceived by the author for the subsequent "narration".

On the first canvas there is a figure in the centre, the soft blurred
outlines of which are just beginning to form from
the turquoise-blue space surrounding it, and the first impression
of a certain, still sleeping, equilibrium gives the viewer time
to see a kind of three-dimensional "holographic" effect
at a certain moment, as if the constituent parts,
which are at different levels, are trying to find an identical form
and become the whole one.

Through the plot and colour palette, the author seems to invite
the viewer to experience a state of weightlessness, a state that
one experiences being immersed in the waters of the Ocean,
when it carefully sways us on its waves.
And this association with the Ocean and the state of weightlessness
is not accidental. On a spiritual level, the "ocean" as a symbol
is the element from which all life emerges.
Formless and inexhaustible primary source of life.
It personifies the emotional and feminine and not only gives life,
but also supports it.

Let us turn to the symbolism of the blue colour dominating in the work.
Blue is a symbol of stability, reliability and purity.
It is associated with a sense of serenity, harmony and tranquility.

But only the environment will remain peaceful and unhurried
in the picture, within which the process of synthesis has already begun,
when the energetic, informational and spiritual,
losing their weightlessness, strive, already on the biological level,
to become one whole.
Striving to become the Living.

The Womb is the title of the work that opens the exhibition.

На первом полотне в центре присутствует фигура, мягкие размытые очертания которой еще только начинают формироваться из окружающего её бирюзово-синего пространства и первое впечатление, некоего, пока еще спящего, равновесия дает зрителю время, чтоб в определенный момент увидеть своеобразный трехмерный «голографический» эффект, словно составные части, находящиеся на разных уровнях, стремятся обрести тождественную друг другу форму и стать одним целым.

Сюжетом и цветовой палитрой автор словно предлагает зрителю ощутить состояние невесомости, состояние, которое испытываешь при погружении в воды Океана, когда он заботливо качает нас
на своих волнах.
И такая ассоциация с Океаном и состоянием невесомости -
не случайна.
На трансцендентном уровне «океан» как символ — это элемент,
из которого возникает вся жизнь.
Бесформенный и неистощимый первичный источник жизни.
Он олицетворяет эмоциональное и женское начало и не только
дает жизнь, но и поддерживает её.

Обратимся к символизму доминирующего в работе синего цвета.
Синий — это символ стабильности, надежности и чистоты.
Он ассоциируется с чувством безмятежности, гармонии
и спокойствия.
Но умиротворенным и неторопливым на картине теперь воспринимается только окружение, внутри которого уже начинается процесс синтеза, когда энергетическое, информационное и духовное, теряя свою невесомость, стремятся,
уже на биологическом уровне, стать одним целым.
Стремятся стать Живым.

Лоно – название работы, открывающей экспозицию.

Swirls of blood red colour literally smear the whole canvas
as if it served as a sheet on the operating table.

This is the artist's second work, which opens the exhibition.
Conceived to be an integral semantic continuation
of the first painting, this canvas is visually its complete antagonist.
After the meditative, as if rocking the viewer in its cradle,
first plot - the new work literally tears us out of this serenity.
Colours swirl in a kind of chaotic dynamism, ready to scream
from the potential concentrated in it. Spiralling rough strokes of paint,
resembling flames, seem to be sucked in by a funnel so that in a moment
they can burst out and fill the surrounding space with themselves -
like the breath of a newborn baby before it emits its first shrill cry
into the world.

The painting searches for its place - it tries to break out
of its own limits and, at the same time, to shrink inwards, it trembles,
anxiously searching for landmarks to grasp and pulsates,
searching for the potential of its own life force...

The Birth is a title of this work.

Swirls of blood red colour literally smear the whole canvas
as if it served as a sheet on the operating table.

This is the artist's second work, which opens the exhibition.
Conceived to be an integral semantic continuation of the first painting,
this canvas is visually its complete antagonist. After the meditative,
as if rocking the viewer in its cradle, first plot - the new work literally tears us out
of this serenity.
Colours swirl in a kind of chaotic dynamism, ready to scream from the potential
concentrated in it. Spiralling rough strokes of paint, resembling flames,
seem to be sucked in by a funnel so that in a moment they can burst out
and fill the surrounding space with themselves - like the breath of a newborn baby
before it emits its first shrill cry into the world.

The painting searches for its place - it tries to break out of its own limits and,
at the same time, to shrink inwards, it trembles, anxiously searching for landmarks
to grasp and pulsates, searching for the potential of its own life force....

The Birth is a title of this work.

Swirls of blood red colour literally smear
the whole canvas as if it served as a sheet
on the operating table.

This is the artist's second work, which opens
the exhibition. Conceived to be an integral
semantic continuation of the first painting,
this canvas is visually its complete antagonist.
After the meditative, as if rocking the viewer
in its cradle, first plot - the new work literally
tears us out of this serenity.
Colours swirl in a kind of chaotic dynamism,
ready to scream from the potential
concentrated in it.
Spiralling rough strokes of paint, resembling
flames, seem to be sucked in by a funnel
so that in a moment they can burst out
and fill the surrounding space with themselves -
like the breath of a newborn baby
before it emits its first shrill cry into the world.

The painting searches for its place - it tries
to break out of its own limits and,
at the same time, to shrink inwards, it trembles,
anxiously searching for landmarks to grasp
and pulsates, searching for the potential
of its own life force...

The Birth is a title of this work.

Form and Colour are the first two components of the "language" in which the story will be told,
the first two "objects" for associative and symbolic study by the viewer.
The artist gives us such keys to perception when we get acquainted with the first work of the series.
The dynamics that appears in the second work and the "handwriting", somewhere soft,
somewhere more rigid and impulsive, are two more reference points,
two more starting points for interpreting the story.

The artist deliberately conceals the titles of his other works.
He no longer wants to influence the viewer, no longer wants to frame the viewre’s fantasy
and limit our imagination.
He does not want to dictate his meanings to our perception.

In this way, the author asks the viewer a question, which is an invitation to dialogue.
He asks the question: "What do you see?"

Form and Colour are the first two components
of the "language" in which the story will be told,
the first two "objects" for associative and symbolic study
by the viewer.
The artist gives us such keys to perception when we get
acquainted with the first work of the series.
The dynamics that appears in the second work
and the "handwriting", somewhere soft, somewhere more rigid
and impulsive, are two more reference points,
two more starting points for interpreting the story.

The artist deliberately conceals the titles of his other works.
He no longer wants to influence the viewer, no longer wants
to frame the viewre’s fantasy and limit our imagination.
He does not want to dictate his meanings to our perception.

In this way, the author asks the viewer a question,
which is an invitation to dialogue.
He asks the question: "What do you see?"

Form and Colour are the first two components
of the "language" in which the story will be told,
the first two "objects" for associative
and symbolic study by the viewer.
The artist gives us such keys to perception
when we get acquainted with the first work
of the series.
The dynamics that appears in the second work
and the "handwriting", somewhere soft,
somewhere more rigid and impulsive,
are two more reference points, two more
starting points for interpreting the story.

The artist deliberately conceals the titles
of his other works. He no longer wants
to influence the viewer, no longer wants
to frame the viewre’s fantasy and limit
our imagination. He does not want to dictate
his meanings to our perception.

In this way, the author asks the viewer a question,
which is an invitation to dialogue.
He asks the question: "What do you see?"

For the first time, the artist's work changes its size and format.
It becomes bigger, as if absorbing the subjects of all previous works and the viewers' gazes,
from those filled with emotion and curiosity to those incomprehensible and indifferent...

The raging flames the artist draws only at the very borders of the painting -
they become something passing away, and one can assume that they are about to leave
the working area of the canvas ...
The passions fade away. Attention is no longer drawn to the importance of things,
most of which served as fuel for this fire.

In the painting we see a familiar combination of colours - it has already met us at the very beginning
of the exhibition and we unmistakably find a connection with the premiere work entitled "Birth".
We recall the painting that attracted our attention with its egocentric and dynamic,
self-discovering subject. Now we observe how all the accumulated energy is released
with a quiet extended exhalation, cooling down and dissolving into the surrounding space....

But what does the author depict in his painting?! Perhaps we can find a clue in the title of the work.
"Entropy" - is the name the artist gives to this painting.
In Greek, the word "entropy" means transformation or turning point.

Does this title mean that the author shows us his understanding of death?!
Death as an irreversible but not a final event?!
The answer is obvious, because the author doesn't end the exhibition with this work
and another picture is waiting for the viewer...

For the first time, the artist's work changes its size and format.
It becomes bigger, as if absorbing the subjects of all previous works
and the viewers' gazes, from those filled with emotion
and curiosity to those incomprehensible and indifferent...

The raging flames the artist draws only at the very borders
of the painting - they become something passing away,
and one can assume that they are about to leave the working area
of the canvas...
The passions fade away.
Attention is no longer drawn to the importance of things,
most of which served as fuel for this fire.

In the painting we see a familiar combination of colours -
it has already met us at the very beginning of the exhibition
and we unmistakably find a connection with the premiere work
entitled "Birth".
We recall the painting that attracted our attention
with its egocentric and dynamic, self-discovering subject.
Now we observe how all the accumulated energy is released
with a quiet extended exhalation, cooling down
and dissolving into the surrounding space...

But what does the author depict in his painting?! Perhaps we can
find a clue in the title of the work.
Entropy is the name the artist gives to this painting.
In Greek, the word "entropy" means transformation or turning point.

Does this title mean that the author shows us
his understanding of death?!
Death as an irreversible but not a final event?!
The answer is obvious, because the author doesn't end the exhibition
with this work and another picture is waiting for the viewer...

For the first time, the artist's work changes its size
and format. It becomes bigger, as if absorbing
the subjects of all previous works
and the viewers' gazes, from those filled
with emotion and curiosity to those
incomprehensible and indifferent...

The raging flames the artist draws
only at the very borders of the painting -
they become something passing away,
and one can assume that they are about to leave
the working area of the canvas...
The passions fade away.
Attention is no longer drawn
to the importance of things,
most of which served as fuel for this fire.

In the painting we see a familiar combination
of colours - it has already met us
at the very beginning of the exhibition
and we unmistakably find a connection
with the premiere work entitled "Birth".
We recall the painting that attracted our
attention with its egocentric and dynamic,
self-discovering subject. Now we observe
how all the accumulated energy is released
with a quiet extended exhalation, cooling down
and dissolving into the surrounding space....

But what does the author depict in his painting?!
Perhaps we can find a clue in the title of the work.
Entropy is the name the artist gives
to this painting.
In Greek, the word "entropy" means
transformation or turning point.

Does this title mean that the author shows us
his understanding of death?!
Death as an irreversible but not a final event?!
The answer is obvious, because the author
doesn't end the exhibition with this work
and another picture is waiting for the viewer...

Passing to the final work of the exposition - the viewer observes a total change
of the plot's dimensionality while feeling its absolute connection
with the very first work of the exposition!
With a recognisable colour palette the author leads us to the beginning of our "journey",
but this is not a movement in a closed circle - it is an upward spiral,
opening to the viewer the plane of a new perception of already familiar subjects...

And we can see this barely noticeable spiral in the central part of the painting.
Its unobtrusive execution seems to point to the subtle hidden but unbreakable connection,
that connects the two works. A link that literally compresses time between them,
as if past, present and future had always existed simultaneously.

We no longer find isolation and defenselessness in the subject, no isolation,
on the contrary, each element of the painting seems to be trying to shorten the distance
between them, reaching out to meet each other and inevitably reunite
with what it has been striving for...

We're back to weightlessness again, but if the artist's first painting immersed us
in this weightlessness as an environment, now we feel as if we're becoming completely
weightless ourselves, and as we dissolve completely into this state we find a flickering spark
inside of us shining brightly, and through this inner light we become one with this attractive
and calming force, which is felt not only in the image itself, but far beyond the space of the canvas...

We feel the Unity.

Passing to the final work of the exposition - the viewer observes
a total change of the plot's dimensionality while feeling
its absolute connection with the very first work of the exposition!
With a recognisable colour palette the author leads us
to the beginning of our "journey", but this is not a movement
in a closed circle - it is an upward spiral, opening to the viewer
the plane of a new perception of already familiar subjects...

And we can see this barely noticeable spiral in the central part
of the painting. Its unobtrusive execution seems to point
to the subtle hidden but unbreakable connection, that connects the
two works. A link that literally compresses time between them,
as if past, present and future had always existed simultaneously.

We no longer find isolation and defenselessness in the subject,
no isolation, on the contrary, each element of the painting seems
to be trying to shorten the distance between them, reaching out
to meet each other and inevitably reunite
with what it has been striving for...

We're back to weightlessness again, but if the artist's first painting
immersed us in this weightlessness as an environment,
now we feel as if we're becoming completely weightless ourselves,
and as we dissolve completely into this state we find
a flickering spark inside of us shining brightly, and through
this inner light we become one with this attractive
and calming force, which is felt not only in the image itself,
but far beyond the space of the canvas...

We feel the Unity.

Passing to the final work of the exposition -
the viewer observes a total change of the plot's
dimensionality while feeling its absolute
connection with the very first work
of the exposition! With a recognisable colour
palette the author leads us to the beginning
of our "journey", but this is not a movement
in a closed circle - it is an upward spiral,
opening to the viewer the plane of a new
perception of already familiar subjects...

And we can see this barely noticeable spiral
in the central part of the painting.
Its unobtrusive execution seems to point
to the subtle hidden but unbreakable connection,
that connects the two works. A link that literally
compresses time between them, as if past, present
and future had always existed simultaneously.

We no longer find isolation and defenselessness
in the subject, no isolation, on the contrary,
each element of the painting seems to be trying
to shorten the distance between them,
reaching out to meet each other and inevitably
reunitewith what it has been striving for...

We're back to weightlessness again,
but if the artist's first painting immersed us
in this weightlessness as an environment,
now we feel as if we're becoming completely
weightless ourselves, and as we dissolve completely
into this state we find a flickering spark inside
of us shining brightly, and through this inner light
we become one with this attractive
and calming force, which is felt not only
in the image itself, but far beyond
the space of the canvas...

We feel the Unity.

By giving titles to the first two works and the paintings completing the exhibition,
the artist has only given us a vector.
Being endowed with the freedom to interpret the subjects, in an attempt to understand
or guess what the artist depicted in his works, any answer will be a figment
of our own imagination.
Any answer will be a projection of our own thoughts, feelings and experiences.

And as a viewer, we finally realise that in preparing to see someone else's life story,
we were looking at our own one.

By giving titles to the first two works and the paintings
completing the exhibition, the artist has only given us a vector.
Being endowed with the freedom to interpret the subjects,
in an attempt to understand or guess what the artist depicted
in his works, any answer will be a figment
of our own imagination.
Any answer will be a projection of our own thoughts,
feelings and experiences.

And as a viewer, we finally realise that in preparing to see
someone else's life story, we were looking at our own one.

By giving titles to the first two works
and the paintings completing the exhibition,
the artist has only given us a vector.
Being endowed with the freedom to interpret
the subjects, in an attempt to understand
or guess what the artist depicted in his works,
any answer will be a figment
of our own imagination.
Any answer will be a projection
of our own thoughts, feelings and experiences.

And as a viewer, we finally realise
that in preparing to see someone else's life story,
we were looking at our own one.