Visual practitioners

Oppositional  displacement opposes the tradition of painting as a process of application painting layer on a solid base (canvas, cardboard, wooden board, hardboard, etc.).

The authors replace the material and base, use paint as a support. Paint is freed from human intervention by being able to move only due to the laws of gravity.

Naturally flowing, paint flows freely surfaces and between planes, hardens and forms a solid base in itself herself.

The pinning function  transitions. to paint, completely replacing the previous traditional base and thereby creating precedent for anti-painting.

Moreover, at the beginning of the movement, the paint hangs inside and behind outside the contour of the layered structure and strive to attach oneself, to take root with the external environment, the soil to which it attracts gravity.

The new modality of objects reveals their independence, gives “adultness” in contrast to the traditional position of paintings, which “childishly” require care for themselves, must be placed, leaned against something, suspended on supports in the frame like in a cradle.

Objects of the “Anti-painting” cycle In the process of hardening the flows of paint, they acquire a sculptural, physical basis in themselves, becoming autonomous and self-sustaining.  Following the exchange of material and base in structure of the object, the area of its significance also moves, rushing to an unoccupied area of the medial surface and founding itself as an empty sign.

The project was implemented jointly with Alexander Arfeev.