Exhibition of works by Ruslan Tsrimov Automatic translate

The Russian Academy of Arts presents an exhibition of works by correspondent member of the Russian Academy of Arts Ruslan Naurbievich Tsrimov (Kabardino-Balkaria). The exposition presents about a hundred paintings by the author, including works from the series “Motherhood”, “Crucifixion”, “Musician”, “Woman”, “Adam and Eve”, “Flowers”, “Ancient Dance”.

Ruslan Tsrimov was born in 1952. In 1975 he graduated from the graphic arts department of the Karachay-Cherkess Pedagogical Institute. He has been actively exhibiting since the 1980s - in 1986 he participated in the exhibition of Soviet art in Jordan. During the period of the intensive development of the gallery business in Russia, the search for new unusual names and creative personalities, the artist attracted the attention of the Stanbet Gallery (exhibition and auction hall of the Moscow Cultural Foundation), which holds his personal exhibition in 1992 in Moscow, and then another in Finland.

Ruslan Tsrimov is an artist of a pronounced philosophical direction, a deep and original thinker. His search for form is inseparable from the original idea, spiritual impulse, mnemonic message.

There is a lot of tragedy in Tsrimov’s art - just as a person who is not indifferent to the world and people cannot be infinitely joyful. “My beings are unhappy and unhappy,” says the artist. Fine searches are closely connected in his art with research in the field of history, philosophy, cultural studies, philology and etymology. The artist notes that in the Adyghe language the word “happiness” carries a different semantic load than in the Russian language. So the artist constantly notes that the language a person speaks has a huge impact on his thinking and vision of the world.

The creative personality of Ruslan Tsrimov has a keen sense of the artist staying on the verge of two worlds - the visible and the invisible, which become for the master full sources of images for his works. The artist is a kind of traveler in two worlds, bringing to the viewer the gifts of his “otherworldly” experience as souvenirs, clues of true being.

Tsrimov thinks in color and line. His coloristic declarations are distinct as the azure of heaven or the flickering colors of the sea. The color vision of the artist draws the viewer to the absolute purity conceived by the Creator during creation. The emotional component of images invariably subjugates formal decisions, filling them with a sound similar to what the ancients called “music of the spheres”.

“The Tsrimov Phenomenon” is the appearance of an original master of abstract art in a deeply rooted national context. However, the artist himself believes that the concept of "national painting" is not entirely correct. “How much sun the artist drank is shown in his works,” the master recalls.

As for the artist’s coming to abstraction, it is precisely on it that folk original art is based. In this case, abstraction is a kind of return to the roots at the next stage of the development of the artistic form, opening a new cycle in the evolution of creative consciousness. Hence the presence in most of the works of Tsrimov of signs, symbols as the basis of the figurative system of many of his works.

The art of Ruslan Tsrimov is imbued with movement. The artist is familiar with the state of the necessary transition to a new stage, when everything that is actual seems to lose its significance, forever remaining in the past. This is a sign of evolution, which must invariably be present throughout a person’s life, without which his further growth will be impossible, where the crisis is the beginning of a new one. "The movement in a circle is not for the artist," says the master, "you need to be able to get rid of what has been accumulated."

The lost unity of spirit and matter is the main theme of the works of Ruslan Tsrimov. The series “Motherhood” demonstrates metamorphoses of the eternal and traditional image of the mother with the baby, as if the signal passed through the layers of time, a kind of sound, spatial, color aberration. Despite bizarre changes, the foundation remains recognizable and is read by consciousness. Thus, the artist seems to communicate a certain code of the unchanging, which is for the viewer a kind of key to eternity - the sphere that is the beginning and end of everything that surrounds us, including the person himself.

The text was prepared by Academician of the Russian Academy of Arts Maria Vyazhevich.