"Painting filters" Automatic translate

The Painting Filters series came out of the paint shop. Friends in the printing house have a lot of unused paint that they want to use. The ink produced for the printing industry has its own characteristics. For example, it dries almost instantly and at the same time practically does not lose color. The downside is that at the time of drying it becomes highly toxic. You have to work in a respirator with a hood and at a sports pace. There is no time for meditation with a color a la Rothko or Pollock’s shamanic dance. Rather, my job resembles a special operation. It takes a lot of preparation. I make a plan, what plastic ideas and in what sequence to implement, I make a calculation based on the materials. I start with a computer. I make color layouts on the screen, then print the samples. I mix colors on them. So to speak, from virtual to machine and from machine to analog - manual. Then comes the fun part. I put on my overalls, a respirator, take the rollers, started, unfinished from the last "shift", sheets, a pile of fresh ones and go to the shop.The process rarely goes completely from scratch. I finish what I started, lay down new ones. With experience, hitting accuracy grows. The material begins to be felt, to reveal the desired effect. In principle, everything follows the classic laws of artistic search, only instead of a brush, as a rule, a roller. About an hour later, the paint already starts to feel dizzy. I leave it to dry overnight. The next day, with a fresh mind, I look at what happened. I make a selection, filter. Most of it goes to melting down, something to the basket, something I am satisfied with. In general, the process is cyclical, unfolded in time, but built around a pictorial gesture and therefore addictive.usually a roller. About an hour later, the paint already starts to feel dizzy. I leave it to dry overnight. The next day, with a fresh mind, I look at what happened. I make a selection, filter. Most of it goes to melting down, something to the basket, something I am satisfied with. In general, the process is cyclical, unfolded in time, but built around a pictorial gesture and therefore addictive.usually a roller. About an hour later, the paint already starts to feel dizzy. I leave it to dry overnight. The next day, with a fresh mind, I look at what happened. I make a selection, filter. Most of it goes to melting down, something to the basket, something I am satisfied with. In general, the process is cyclical, unfolded in time, but built around a pictorial gesture and therefore addictive.

Pavel Mikhailov, 2020

Pavel Mikhailov was born in Leningrad in 1979. Got the basics of artistic skills at the Fine Arts studio. In 2002 he graduated from the Faculty of Fine Arts of the Russian State Pedagogical University. A. I. Herzen

on the department of DPI. The diploma is made in the technique of airbrushing. After graduating from the institute, he worked in professions indirectly related to the visual arts: silk-screen printing assistant, restorer in the chapel, carver in a stone-cutting workshop, die cutter on a crucible press, designer, prepress, printer, print technologist. In parallel with his studies in traditional landscape painting, he tries to work with the materials, colors and technologies that he encounters while working in production. On the basis of these experiments, Pavel develops his own individual artistic style. Now landscape studies fade into the background for Pavel, he devotes all his time to work on works tending to abstraction.