"Gallery". The illustrated newspaper of fine arts. February – March 2014/№2-3. Moscow. 16 p., color illustrations. Founders: Russian academy of Arts, Moscow fund of culture, Lasta gallery. Heading "Event". Art project exhibition "Ornamentalizm. Terra incognita. "

P. 12-13. Srt. 13 – illustration of a picture of Alexey Akindinov "Motherhood". Author of article Lyudmila Chekalina (art critic, curator of exhibitions of the modern art. )

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 "Ornamentalizm. Terra incognita."

       Large-scale exhibition of the art project "Ornamentalizm. Terra incognita" at the end of 2013 in On Kashirka gallery in which about forty art directors from the different cities of the Russian Federation took part, and also countries of the near and far abroad, became for gallery a culmination event of the expiring year.

Spectacular, the exposition located in two big and small halls sated with ornamental rhythms and mythological symbolics, united, executed in different manners, genres and technicians of work of painting, graphics, arts and crafts, including a list on fabrics and art glass, and also лингвогобелены, installations and a videoart.

       Within three weeks the audience had opportunity to get acquainted with various currents of an ornamentalizm reflecting ideas of modern artists about this surprising phenomenon, and also with participants of an exhibition on master classes, discussion platforms of the project, during creative communication at "a round table" and behind a cup of tea.

      Ornamentalizm – the ancient art having rich base of the bases and a set of different contexts. "Memories" of it are traced as a certain tradition in motives of patterns, signs and the simovolakh up to the present. Distinction in ways of the letter or drawing, individual author's style, own vision and desire to plunge into space of the myth turn ordinary reality into the come true miracle, allowing to slightly open a veil of secrecy and to touch magic of the novel.

      So, for example, the list of cosmogonic character in the triptych "Terra incognita" (a batic, a collage) Larisa Rubtsova (Moscow) with traces of transformations of a protolandscape and figures of bisons running on rocks, is read by signs of petroglyphs and, in structure whole, is perceived by the eternity message. Ancient rhythms are guessed in a composite system and vanguard stylistics of work of Vyacheslav Novichkov (Moscow) "And the wedding sang". It is possible to refer to area of an archaic protoornament also Ilya Petrov's works (Moscow) with their arkhetipichesky lines. Anna Maseykina (Saransk. Mordovia) in which works the cult of space geometry, on the contrary, in one of the pictures "Space egg is noticeable. The beginning" I submitted the version of an unearthly origin of the ornament flying from space in the form of a huge sphere.

        Reconsideration of space of existing contexts allowed also to Ekaterina Fadeyeva – the young artist from Moscow, in structured, the ornamentalisticheskikh compositions with the conditional image of unearthly beings as conductors of information to glance in the technocratic future of mankind. Nina Lomonosov (Moscow) in the monochrome reliefs executed in the graphic way, in the form of the socket or "an ornamental rose" focused attention on magic properties of an ornament as thoughtsforms – a sign for process of creation in which the pattern is simvolosoderzhashchy structure.

      Creativity of the known artist Marina Polyakova (Dzerzhinsk the Nizhny Novgorod Region) is connected with stylistic searches in the field of an ethnoornament. Its series of pictures devoted to Africa, penetrated by national rhythms and mythological symbolics, differs a unique manner of the letter in which natural motives intertwine with a majestic system of a universe, creating feeling of a touch to a live antiquity.

      In traditions of a national Russian ornament Irina Chernobrovkina's works (Moscow) "Scarlet Flower", "Kupchikh at fair", etc., representing the author's version of the revived Veliky Ustyug list on a tree with characteristic vegetable the uzorochy were executed.

      Yury Dyrin's pictures – one more artist from Mordovia (Saransk), - attracted the originality, fabulousness and a fantastic decorativism. The myth space, inclusion of basten folklore motives in figurative, subject fabric of the narration, shining color, metaphoricalness and the stylized ornamentalnost gave them mysterious sounding.

      The fantastic text, without losing, thus, the semantic value, the ornament and in Margarita Budylyovoy's works (Ryazan) was perceived. The Znakovost, the metaphorical figurativeness changing reality in a magic ornamental pattern, filled also works of other Ryazan artists: Maksimilyan Presnyakov, Vladislav Efremov, Andrey Nazarov. Nazarov's graphic leaf the "Sorcerer" comprising the sacral, magic beginning, represented balance of plastic expressiveness and a plane decorativism.

       In an exposition it was possible to see as well examples of east orientalism. Toir Sharipov – the Uzbek artist, brought from Samarkand, besides traditional refined and decorative miniatures, easel painting, and also the decorative panel executed in a free manner in scrappy equipment "cock", on the basis of use of traditions of national Uzbek textiles. Skill of possession of art of original interpretation allowed the author is surprisingly thin to install a material according to vanguard traditions and, at the same time, cultural realities of the East and to achieve impression of special decorative wealth, live variety of rhythms, generosity of the ornamental imagination.

      The plasticity peculiar to a modernist style, served as one of ornamentalizm sources, was shown in filled rhythmimages – metaphors of protohistorical tattoos and the charms, four compositions of the kvadriptikh "The woman in armor" Vdovina's (France) Ladas. In the arkhetipicheskikh signs, the mobile invoice, rhythmic configurations of the elastic pulsing lines spinning a whimsical ornamental pattern, creating ambiguous, inexhaustible in the value, an image of the woman, the hidden meanings and the ciphered messages were read. Thus painting didn't become an ornament, only got a poetic shade. Other image of the woman full of mysterious charm and too unique, but more realistic, Olga Kontaryova (Moscow) created in the graphic series "Clothing Ceremony". Decorative rhythms of the ornamented fabrics in its works, also sent grace of drawing, refinement of lines and color nuances to emotional expressiveness of stylistics of a modernist style.

       But, if the extreneity of an ornament located in a modernist style at the end of XIX - the beginning of the XX centuries to spirit of modern culture, today is a heritage, a source and evident model of searches of our time. Striking example of synthesis of various influences and, in particular, symbolical attitude was painting of the Moscow artist Vladimir Pronin. The manner of the letter, composite construction and color, bright, saturated, gentle, harmonious in its works of painting with inclusion of the ornamented architectural, landscape or floristic exhibitions reminding a mosaic, created feeling of harmony, pleasure and triumphing beauty. The style which combines some art languages, - a decorativism, symbolism and realism, Vladimir Pronin calls "ornamental neosymbolism".

      Absolutely in other manner, but too Sofia Sukhariyan (Rostov-on-Don) works at border between styles and the directions. Its picturesque improvisations which have united new expressiveness with multiple layers of the invoice, the strained plasticity of forms, refinement of the drawing, the most difficult rhythmic structure of the confused compositions and a bright colourful decor of ornamental motives, were enthusiastically met by the audience.

      Konstantin Kuznetsov's (Moscow) pictures – "Tsaritsyno", "Eden", etc. became the real esthetic revelation also. The masterly author's equipment of execution by distemper on thin soil created effect of optical mirages. Tamper, translucent layers of painting, accumulating, being poured, radiated the soft light changing the ornamented surface of its canvases in difficult figurative and plastic structure "visual moire".

       Being formed, at this stage, the neoornamentalizm proves in the most different directions. For example, very unusually and completely Galina Poloz's urbanistic pictures panels (Moscow) sounded executed in the distinct author's manner which isn't losing touches with improvisation. As the modernism phenomenon ornamental art gravitates to orderliness and a leytmotivnost therefore it isn't casual that leading position in an exposition was reached by Alexey Akindinov's (Ryazan) which have united realism of a form and depth of the contents with subject and spatial and ornamental and plane perception the works. The difficult ornamentalistichesky characteristics defining beauty, force and internal voice of its works and forming its unique author's style, consisted of many components, from which the tekstosoderzhatelnost, and also multiple layers of the subject composition read through ornamental structure were paramount.

      The understanding of an ornament as the pattern constructed on rhythmdynamics of graphic elements, was shown in Natalya Baranova's painting (Moscow) and Willie Melnikov's lingvo-metachemistry (Moscow), using for creation color and graphic and poetic images a text basis. Font structures, taking root the systemacity – the scale, nature of writing and an arrangement of letters into a subject outline and becoming an integral part of works, created the new values, new codes and new cultural space.

    Comprehensive character of an ornamentalizm found expression and in a genre of a still life to which some participants of an exhibition addressed. The form of the art statement in Natalia Udaltsova's still lifes (Moscow) represented structurally organized translation of the lyrical image in a freakish ornamental silhouette of lines and the forms, stylistically being on crossing of various ways going from the different directions, including vanguard and a modernist style. In Larisa Sorokina's works (Moscow), devoted to the natural world, also it was possible to notice reconsideration of decorative vegetable elements towards ornamentalistichesky, with a shade of a ratsioalizm, the filling of images giving to them unusual sharpness.

      A number of works in an exposition was noted by the abstracted characteristics. So, for example, in "Slavic motives" Ryazan artist Srgey Abakumov through an abstract form rhythms of an Old Russian ornament were looked through. Vasily Nikolaev's (Ryazan) works on music also can be an example of the abstract ornamentalistichesky image far from a traditional ornamentalnost. Associative, coloristic the built figurative system was created in them by means of the ritmizirovannykh of abstract forms and the expressional plasticity causing associations with music.

      In Alexey Ushakov's pictures (Moscow) in knots of interlacings of lines and true tones of color intense energy of the painting connected to energy of feelings magnetized by text fullness of ornamental rhythms remained.

      The author's version of a rational abstract ornamentalizm in Andrey Umnov's works (Moscow) with their sakodirovannost, the emotional invoice of color, signimages, sending to life fundamental principles, I didn't lose thus modern sounding. A series the kontektualnykh, connected with a kosmizm, Vyacheslav Shitov's (Ryazan) hard to read graphic works caused, nevertheless, interest the accurate continuous geometrical form passing into a sign, and also emergence of properties of an ornament as a result of imposing and combination of several layers of the image by the principle of a kaleidoscope.

      To rhythmic group of the spectral abstract ornamental compositions which painting doesn't trust the image, it is possible to refer also Andrey Hanov's works (Moscow), presented in the form of a coloristic spatial cycle of the tangible and sensual images dissolved in paints and rhythms.

     The leading role in them belonged to color streams.  Color formed a form, pushing out it from itself, broadcast the feelings symbolizing that fine that is in our soul.

The ornament in them acted as a communication medium as its language concept of any words and as east wisdom says, "when information is settled, and the perception proceeds, there is a contents".

     And, in end, it is possible to assume with confidence that ornament art, in many respects, thanks to the expressiveness, capable to make strong emotional influence, still remains actual as open there is also a subject. Ornamentalizm is a nezaveryonny project. Probably it, and also, thanks to connection of magic of art and magic of experience, opportunity everything new and new reading speaks undying interest to this phenomenal phenomenon – ancient and, at the same time, modern behind which the future is guessed.


Lyudmila Chekalina.