Vladimir Polyakov. Nameless Matter Automatic translate

Erarta Museum presents an exhibition by Vladimir Polyakov, in whose works the materiality of an object collides with the immateriality of thought.

Where are the real boundaries of art? What is a form without semantic belonging? At what point does it acquire its essence? St. Petersburg artist Vladimir Polyakov invites us to find answers to these questions at his exhibition. His works are fickle images, reborn depending on place and time. The form, as the author is convinced, is no longer significant - it is only a guide to new content.

The Nameless Matter exhibition is an attempt to understand movement and change of form in a historical context. The role of art, according to the artist, is to demonstrate, visualize the facts of reality, usually overlooked. The works of Vladimir Polyakov are born on the border, where the materiality of the object collides with the immateriality of thought and carries a hidden power enclosed in a form-image.

The artist pays special attention to time as a material object. He is interested to know how long his work will live, how it will die, how many times and how it will be interpreted by the viewer.

Polyakov’s creative method is based on the basic, by definition of the author, forms of the universe, permeated with a special mysterious light. No less important for the author is the principle of relativity: depending on the observer and his knowledge, an object can acquire different semantic meanings.  

Vladimir Polyakov’s exhibition is a conversation about form and its content, a search for its material boundaries. Indeed, at its zero point, the form remains as neutral as possible, but its reading can be as broad as possible. The author looks at the form in the context of infinity. It is important for him to give the object the ability to change over time, thereby endowing it with new properties and characteristics that are not inherent in a living object.

The works of Vladimir Polyakov remind the viewer of the transience of what is happening and the relativity of our perception. The author proposes to look at the form, freed from the influence of reality, and find the point at which it begins to fill with meaning, acquires its expressiveness.