Exhibition of works by Arsen Gushapsh Automatic translate

Arsen Gushapsha - sculptor, corresponding member of the Russian Academy of Arts (2012), member of the Union of Artists of Russia (2006), TSHR (2010). Born in the village of Kenzhe (urban district of Nalchik) of the Kabardino-Balkarian Republic. In 1981 he graduated from the Moscow secondary art school - the famous Moscow Art School (now the Moscow Academic Art Lyceum). Being a graduate of the Moscow State Academic Art Institute. V.I. Surikova (1987) was awarded the Gold Medal of the USSR Academy of Arts for his diploma work "Thirst" - a rare case in academic history when such a high award was awarded to graduation work. He was awarded the Gold Medal of the Creative Union of Artists of Russia (2010). Since 1991, trained in Italy. Lives and works in Nalchik.

Arsen Gushapsha is one of the most prominent representatives of modern sculpture, working a lot and fruitfully in the field of easel and monumental plastic. His “corporate identity” is utter clarity of form, piercing consciousness, like clearly formulated thoughts, and at the same time special warmth and humanity, enclosed in the shell of images created by the sculptor.

The exhibition presents the sculptural series “Bird”, “Motherhood”, “Signs of the Sun”, made in various materials, as well as monumental projects of the master - “The Tree of Life” (Istanbul), the Memorial complex to M. Lermontov (Nalchik) and others.

The sculptor, inspired by the creative methodology of the famous Kabardino-Balkarian artist, corresponding member of the Russian Academy of Arts Ruslan Tsrimov, creates extensive series of works, conducting the same recognizable images through transformations in space and material, as if gradually revealing, revealing their essence. “Your view - may it be firm and clear. Erase random traits - And you will see: the world is beautiful, ”wrote Alexander Blok. In our time, oversaturated with information flows, the paradoxical laconicism of the works of Arsen Gushapsh is perceived as the silence of the sages.

In the center of creative attention of the master, eternal values ​​are life, its origin, the meaning of being, as well as one of the most relevant topics of the modern era - comprehension of the past. All world history and the twentieth century were filled with dramatic events - wars, oppression, genocide, the suffering of millions. The approaching millennium and the 21st century prove that the earthly world is still far from perfect, and people’s thoughts are weighed down by greed and anger. In these conditions, the artist’s mission acquires special significance. Art is not always able to change a person’s consciousness, but it can serve as a saving beacon for him in the impenetrable fog of doubt and spiritual darkness.

Each appeal of Arsen Gushapsh to the tragic events of the past is not an illustration, but a kind of philosophical message to the memory of the departed and, above all, to the consciousness of modern man. The master transforms a dramatic conflict into a parable with a bright outcome. Such, for example, is his work - “Monument to the Victims of the Caucasian War” (Nalchik).

The possibility of dialogue with the viewer for fine art is enclosed in a form and only in it - whether the image will be “read” or will remain incomprehensible. As a graduate of an academic university, Arsen Gushapsha is convinced that the classical school contains the full breadth of the artist’s perspectives, since it initially provides him with the necessary arsenal of skills.

Surprisingly, fate favors the master, allowing him to realize his projects when many artists often run into a wall of financial difficulties. Perhaps this is a reward for perseverance in the desire to translate a conceivable idea into a visible form and unpretentiousness in the choice of material that is at hand at that mysterious time when images begin to require expression. The artist uses aluminum foil, wire, metal rods, polyethylene, neon lamps, newspapers, papier-mâché, leather… One involuntarily recalls Pirosmani, who created his masterpieces on oilcloths from Tiflis restaurants.

The sculptor is convinced that modernism needs universalism. Not omnivorous, but the creativity and breadth of ownership of the material. New technologies come into art. Not to notice this means to doom creativity to stagnation, stopping, disappearing. Either the swift onslaught of the new will swallow traditional art, or it will grow through the passing time, like a tree growing on a stone. The sculptor does everything in his power to preserve and enhance the best traditions of sculpture.

The art of the 21st century has significantly expanded its functionality - a modern work is not satisfied with contemplation alone, becoming a full-fledged participant in the life of society. Persistently overcoming the framework of "feast for the eyes", it turns to its original purpose, closely associated with the cult character, actively participating in human life, shaping his consciousness. Hence, one of the trends in the search for Arsen Gushapsh is the appeal to the forms of early art, the comprehension of ancient and medieval heritage, and folklore national traditions. Thus, the artist is moving towards gaining energetically filled, capable of strong impact forms.

Arsen Gushapsha creates with confidence in the correctness of the chosen path, and in the images of his works the sensitive audience will find a clear proclamation of the artistic language of the new millennium.