Exhibition of Paul Polyansky "Arctic" Automatic translate

The new project of Pavel Polyansky is represented by twelve works and is dedicated to the very fashionable topic covered in various media, advertising, political shows, etc., - the Arctic. Means - canvas, acrylic, instrument - brush, driven by the artist’s hand, the result - a work in an artistic context - a picture. On the canvas of Polyansky, the muted white color of the Arctic snow expanses is absorbed by the soft, finely nuanced gray color of the summer air of the Arctic. However, the landscape is not deserted. On the contrary, it is densely filled with flying and wheeled vehicles, towers and other technical structures cut through the sky, working people scurry around on the ground. It would seem that the artist simply repeated the world of countless photographs of the development of the north. But no and no! The central figures are naturally polar bears scurrying among people, penguins in black tailcoats and, of course, the artist’s favorite characters are girls. They are in a bikini and are busy with an impossible task for these latitudes - an attempt to catch the meager rays of the polar sun. Girls are good, animals are touching, especially penguins cleaning the territory from plastic cups. Such idylls, coupled with extraordinary visual expressiveness, sophistication and simply beauty, are associated with paintings of paradise, heavenly bliss, of course, not in a religious sense, but in an emotional-sensual one. However, the paintings of Paradise Polyansky are pretty flavored with irony, otherwise why did the artist move the penguin from the south pole to the north? Turn to the author:

“Why the Arctic? This place has become for everyone not just a piece of land, previously poorly developed under understandable harsh conditions, but an interweaving of areas of state interest. With the melting of ice, new trade routes, the extraction of natural resources, etc., as well as military-strategic confrontations are possible. In the world we see many other places where these spheres of interests intersect, but in a figurative and artistic aspect, this region with its contradictory factors seemed more significant to me: absolute inability to live a person and the need for such a life, and what it turned out to be possible to mine the oil that we hear about every day left me no doubt that such an idea can be brought to its logical conclusion - to break the beaches and resorts in these places, which is a sign of civilization in our time and, without departing from the pipe, enjoy I can’t give up life and consumption through, despite the harsh environmental conditions, despite the absurdity of such a situation ”Pavel Polyansky. The artist jokes, but is not at all sure that his joke will remain so. Indeed, we have many examples of this when artists, poets, writers turned out to be seers, prophets. And now, volunteers, greens and other environmental activists with slogans like “Snow to be!”, “Bear is a friend of man!”, “Penguin, why don’t you fly?” Will be pulled into the “Arctic” industrial zone.

So, Pavel Polyansky is a painter using classical technique, however, the semantic content of his works, philosophy, artistic imagery, of course, are due to modernity. His visualization language, style is completely individual, and his work is self-sufficient, recognizable and contextually independent. According to theorist of contemporary art Anatoly Osmolovsky, in the last few years the situation in this area has changed. So, if from the position of prevailing postmodernism “manual creativity” was essentially rejected by many of our critics, the emphasis was on technology, now it’s clear that technology is aging at an incredible speed, what was super yesterday, today is primitive. The exposition expressiveness, the quality of the work were not considered, only its context was important. In the current situation, the work of art itself is put forward in first place, the time value of which depends on its creator. Again, it is “manual production” that is independent of technological exchanges. Osmolovsky calls this new situation reflexive modernism, obviously, Pavel Polyansky - his real representative. It is appropriate to end this text with the words of the poet A. Vvedensky: “so that everything is clear / we must live to start back.