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. 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. /.../ 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. Text by Maria Hinel

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. 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. Text by Maria Hinel

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. 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. Text by Maria Hinel

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. 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. Text by Maria Hinel

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. 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. text by Maria Hinel

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. 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. text by Maria Hinel

Piercing through Fields, the series of paintings and works on 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. Devoid of figures, the images seem to be set at dusk, emphasising the sense of uncertainty and transience of the depicted moment. Here, our eye travels past occasional biomorphic shapes further into composition, unveiling the way in which a horizontal line can create a sense of pictorial depth in our perception.