Family tree as an evolutionary model of art Automatic translate

They all appeal to a one-of-a-kind image,
to the one-of-a-kind window of this image
Martin Heidegger

I love the appearance of the fabric
Osip Mandelstam

In the early 20s of the twentieth century, Kazimir Malevich turned to the imagery of “field” phenomena, to the search for a universal form that could combine the history of radical culture, its individual phases and personal statements of artists into a single whole. His principle of an “additional” element turned out to be quite relevant and convincing, allowing us to talk about it as a universal code that operates not only in stylistic evolutionary art formations, but also within the culture of an ethnic group, family, and family.

The fate of the last century of the existence of our domestic art, upon closer examination, naturally submits to the "Suprematist" conditions of K. Malevich. Her organic model can be the history of artistic thought, permeated by the creative history of the family, connected by tribal scrapes as a construct, a single spine. We touch one of them, its specificity, its formal invisibility and, at the same time, its indisputable persuasiveness, modesty and asceticism, artistic aristocracy and inner uniqueness. At its foundation lies the world of natural realities, simple organic feelings, owned by Fedor Alexandrovich Pankin, which carries all the hierarchies of generic and creative relationships. His artistic “health”, ethical and plastic purity of his art forms the whole structure of artistic ideals and visual meanings of “family” artifacts. The creative attitude of F.A. Pankin contains the fullness of family art reality, its creative integrity, its perspective, its connection between the past, present and future, and, so to speak, the proto-language of the family. The vision of F.A. Pankin is immersed in nature, in its crystalline essence, revealing itself in light states that determine the connections between the elements of earth and air. Its optics are permeated with the eternal dialogue of the earth and sky, their incessant visual speech. The artist experiences reality as a space very close to it, inviting the viewer to enter it, get closer to the rustic wooden board fence so familiar to us, touch the seemingly inconspicuous modest roofs of houses, feel the flowering flowering of field plants. Each watercolor composition by F.A. Pankin, while maintaining a direct sensual state, simultaneously acquires a universal structure, the dramatic phenomenality of the inner core, the centering axis. In the works of the 20s. this axis strung all the plastic elements, turning in horizontal and vertical coordinates; she collects artistic connections in a new metric system, bringing together the imagery of the liberated watercolor color, its lightness, transparency and analytical strategies of cubism.

Alexander Pankin, the son of Fyodor Alexandrovich, continues the harmonious search for his father, experiencing reality as an ideal matrix based on the traditions of Pythagoreanism. In his artistic existence, Alexander Pankin addresses, on the one hand, the phenomenality of numbers, and on the other, the problem of the spiritualization of matter. The number of the artist never loses his material foundations, his abilities in the formation of series, sequences and limits describing the "Suprematist contour" of the work; it flickers in the constructions of culture, in its “examples”, building dialogues with Leonardo Da Vinci and K. Malevich, at times likening their algorithms to the reflections of the land surveyor Joseph K. from the prose of F. Kafka. A. Pankin’s visual philosophy has absolute metaphysical value, its technologies based on visual reflection open unique connections in the mathematical sets of culture, in the forms of its deconstruction, allowing you to penetrate the internal mechanisms of art, using formulas and properties of the "golden section". In fact, the artist, checking the algebra with harmony, introduces the concept of name into its dimensions, into its discourse, each time completing the number series with the naming procedure. Naming it, Alexander Pankin gives his images not only appearance, but also, like his father, language, speech, developing a whole system of semiotic studies, sensually analyzing the phenomenality of culture. Turning the conceptual apparatus into artistic optics, the artist creates a special magical reality that has a "numerical bridge" connecting science and art.

The technological principles of these connections are approved by the brother of Alexander Pankin, Yuri, an artist-designer, a person who considers culture in the traditions of V. Tatlin, who is able to realize Alexander’s most fantastic thought. Masterfully mastering the knowledge of mechanics and electronics, he naturally moves in the spaces of the Russian avant-garde, restoring the meaning of the Greek word "tehne", which contains the first circuits of art. Craft and image have never been separated in ancient cultures, and Yuri Pankin reconstructs this tradition in his works, returning “lost time” to the naturalness of the artistic process. The implementation of hidden dynamic dramaturgy in the static compositions of K. Malevich, the construction of three-dimensional installations that fix the spatial discoveries of modern art, are organically included in the artistic practice of Yuri Fedorovich Pankin. Exposing the internal structure of the work, the artist varies with the help of relay systems of pause and continuity of signals, revealing the secrets of artistic tools, manifesting transformations and transitions from discrete phases of visual objects to their wave phenomenality.

The figurativeness of the poetics of the “Pankin family” is manifested in the historical process, it is created as an accomplished event, as a building soil-foundation on which the foundation is built and the building of a special artistic and human integrity grows. The world of this reality exists in continuity in each element of its formation, as the conjugation of the dialogues of a big story with the history of the family matrix. Artists, the trunk and branches of the family tree, derive their creative gifts from the energy of their own roots; they draw them, like they draw water from a well. Borrowing from the source, they at the same time return what was acquired into its underground waters, turn the hidden into an explicit, including themselves, their history and time, artistic events in progress.

Any beginning contains the duration and the desired predictability of the result. The future is always laid in his inner dramaturgy: in his father and grandfather, in Fedor Alexandrovich Pankin, Mityenka Pankin was already hidden, like his underground seed, with his deepest sensitivity and tenderness, with his organics, with the utmost expressiveness that constitutes genuine art. “Art in all its essence,” says Martin Heidegger, “is always the source, the source of creation and storage.” Mitenka Pankin stores what he created in his family covenant, stores carefully, spreading the petals of this flower-storage, touchingly touching the pollen left by a butterfly of culture, like an ornament on the surface of family traditions. His transparent compositions allow us to shine through them to the highest, superpersonal plans and schemes given to us, testifying to the transparency of the artist’s most creative personality. The quiet, enlightened world of Mitya Pankin is absolutely symmetrical to the latest ideas of K. Malevich, his insistent desires to “break through the dome of the sky parachute” and, at the same time, to reveal the essence of earthly energies, the natural simplicity of their shapes and vectors. This art, its instrumentality is deeply ecological, its laws live in rhythmic alternations of inspiration and expiration, its structure resembles the graphic design of a cardiogram of the heart, carefully balancing every detail and every change in our existence. The realities of culture, nature and the reality surrounding us find complete agreement in Dmitry Pankin’s compositions, transforming chaos into cosmic equilibrium, revealing in the universal and ultimately finding the naturalness of the image of the living, inseparability from the living authenticity of the organism. The appeal to a living source, to the fundamental principles forms the free orientation of the vector of this art as a bipolar system that freely changes its poles.

Thinking about this unique family, I cannot but end my thoughts with a low bow to another person who, being outside the tribal axis, in reality overshadows this eternally creative tree with his grace. I turn to the image of Natasha - the amazing Natasha Pankina, with her radiant gratitude to our face, which is not always stable, able to give a harmonious finish to the architecture of this family totem, while remaining forever grafted to its trunk with the magic of love.

Vitaly Patsyukov