Fields
Shtager&Shch
7 days left
In "Fields", Pushnitsky enacts a departure from his earlier work, which was often characterised by realist and narrative subject matter. Concluding the tripartite body of work commenced in 2018, Fields follow the series titled Garden and Forest respectively, and reflect the artist’s renewed interest in the relationship between introspective gaze and physical perception, fuelled by his Buddhist practice.
Text by Maria Hinel
In each image the artist strives to reflect a given instance of lived experience with maximum intensity. Executed in a consistent format, the works coalesce into a formally monotonous continuum of patently varied imagery.
In this seemingly apolitical series, Pushnitsky’s intense introspection betrays an emphatic desire to locate one’s identity and morality in response to the immanent present. In times like this, amid diminishing individual freedoms and raging war, aesthetic and metaphysical enquiry can offer a mode of individual resistance, whilst speaking beyond a specific political moment.
Piercing through Fields
Piercing through Fields, the series of paintings and works on paper by Vitaly Pushnitsky, the horizon line seems to present a kind of fulcrum of human experience, flickering between the perceived and imaginary. Composed of vibrant stripes and colour fields, the scenes configure into landscapes, yet remain palpably dream-like.
Orpheus
Alluding to the image of Orpheus in the eponymous central work on view here, Pushnitsky references a Greek hero and archetypal artistic figure who visited the underworld and returned unharmed. Emerging against the cluster of intersecting lines, a dark silhouette appears lit from the back, as if marking a specific moment of this transition between life and death – the constant underpinning in Pushnitsky’s recent work.
Fields
In Fields, Pushnitsky enacts a departure from his earlier work, which was often characterised by realist and narrative subject matter. Concluding the tripartite body of work commenced in 2018, Fields follow the series titled Garden and Forest respectively, and reflect the artist’s renewed interest in the relationship between introspective gaze and physical perception, fuelled by his Buddhist practice.
Courtesy: Studio Adamson
