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showcase your art to thousands
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| Dmitri Vorontsov | |
1970, Moscow |
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| About the Artist | |
Artist |
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| Click to enlarge images (if larger image has been loaded) |
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Mokadasa-Al-Safer
2000 |
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| Illustration for "Lexicon Cosry". |
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Mistery of St.Evstaphy
2000 |
','Image'))
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Sanctum Sanctorum
1999 |
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Die Orgie der Gerechten
2000 |
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Abracsas
2004 |
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| Abracsas |
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CONJUNCTIO
2004 |
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| CONJUNCTIO |
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IN CONVERTENDO
2005 |
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| IN CONVERTENDO |
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PHOENIX
2004 |
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| PHOENIX |
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| Education and biography | |
| Oh! This exclamation, so sonorous and positive, suits best to the characteristic of the object, offered to contemplation, - be it a landscape, beautiful (or ugly) lady, or graphic work. To say the truth, in a spectrum of this "oh", irony or ridicule can always flash. But anyway, "oh" will be the best mark for all in general. So called chemically pure "oh". Whether the last idea concerns Dmitry Vorontsov's creativity? It is difficult to answer, not being the art critic, who can spot at once all "what" and "who". What does the early drawing mean, who has affected the author and which art school Vorontsov enlist to. But artefacts are made not only for art critics. Beholding the quadrate entered in other quadrate, decorated by vignettes, sites, harnesses, filled by four-lobes flowers or symbols, it is difficult to think about the art direction - most likely one can imagine something ornamental, eastern, esoteric. It is possible to say something more, but it is difficult to make comments by one signed system for another. Of cause, there are painting and drawing of a direct action - subject fragment, which is accessible to the "description". For example, Walter Patter talently "has told" Botichelli's "Spring", Arvin Panofsky "has decoded" Durer's "Melancholia". Of cause, there are absolutely not the pictures of the "direct action". But, for example, "Morning of streltsy' execution", "Major's engagement"... The essence of these pictures is the concrete "direct action". So. Closer to Dmitry Vorontsov, and we shall try "to tell" - to dot a little... The man on an engraving is holding the uplifted left hand in effective "angular" gain, his head is dropped, we can't see his face, his foot is leaning …on the apparatus. Perhaps, he has put his head into a basin with water, and his left hand searches for a soap bar? Or low pitching a head, he goes fast to the spectator on a strange bicycle? Or he looks with effort in the microscope - kaleidoscope which construction is so unusual? But the artist facilitates the task: the character has put his head in an enormous meat grinder, and his left hand … Yes, but in these circumstances it is necessary to realise how a meat grinder functions. What a curious thing is a scene of the direct action! Or. Three middle-aged men with scientific appearance bent over the object of examination. They look quite concentrated. What do they study, by their expression? A rare flower? A map of a war act? Or we see the guys from the UFO ship during the analysis of an early planet's naked nature? No! The passionless artist chose a skull, hardened on a mount, as an object of analysis. So. Whether Dmitry Vorontsov is dehumanisator? You see: not massive characters at all but rather gloomy subjects are the principals of these two engravings' "sense" composition. Subjects, exhibits, plants - they all yield maliciously concentrated suggestion. Sometimes similar exhibits do well without human presence. For example, there is something looking like "composite astrolabe" on the engraving which represents the instruments of the celestial investigations. The apparatus with two telescopes and angle gauge needn't the human presence, it indifferently studies its own sky. In our opinion, there are three (among other) paradigms essentially influenced on the modern actor: 1) his craft and relevant technique, 2) spirit of the epoch's art, 3) problem of the personal myth which (whether it is desirable or not) appears even in neutral compositions. Is the dehumanisation a spirit of epoch or is it the problem of the personal myth? Here there is a composition. The circle with a pentagram in centre and other polygons (classical, taken from Bohme and his followers - representing the Universe around of the microcosm) is supported by the man on knees. In the foreground there is a large spider, which centre is on the overturned triangle of "ground" space element. The spider has great sharp paws - and two of them pierce the body of the atlant man. The idea is common, as everyone another - idee ce... It is possible to change a symbolic circle to something else, it is possible to leave only the spider in a white space of a sheet... But then it will be abstract and will not show the futility of human gains to the spectator, and so on. Whether the artist should impose to us cheerful or gloomy conceptuality? It is difficult to say. Anyway, it is hardly necessary to insert a common reason, taken from the outside, into the drawing. In Dmitry Vorontsov' engravings the meat grinder, the skull, the spider - all these objects exist in their ominous uniqueness, and it does not correspond at all with the emotional ambivalence of the given objects. Well. Let's see other engravings that haven't such concrete semantic. A circle in dense concentration of closed curves. There is nothing specially imaging, energising an immediate negative or positive, but the free composition gives a possibility of slow reminiscences to an eye. What is it? A telescopic landscape of other planet, dactyloscopy of a very circular finger, flower, flatten by a hammer, madness of spider around the axis, stratification of the sub-Arctic ice, slit field of spar, common gain of opt-art… Probable modus of a composition, we shall say, closing the tired eyes. Here you are, one will answer. The artist worked, sick and tired, he did not sleep in nights... And it's all for the sake of yours lazy, bombastic observations. Yes, we shall answer, for this purpose too, but not only for it. Maybe, the beautiful lady will lift eyes from the engraving and these eyes, already full of tears, will look at the artist. Maybe, the engraving will meet the resolute art critic's eyes, and his verdict will uplift the artist or to the contrary. Maybe, Dmitry Vorontsov, tired with the sleepless night in a casino, works above these drawings for the rest... There are a lot of variants "why". It is a problem personal myth. What does it mean - this personal myth? It is the explication of the art "ego" through the social person - in this case, by means of the drawing. As secret Mr. Hide is the explication of the public factor of Jackil... The explication is the portrait of Dorian Grey in an empty room above … In this situation it is the real surprise because of the predatory details' abundance passing through abstract constructions. Art "ego" in essence is unrecognisable, it has not the ration to "subconscious" or "unconscious", it does not exhibit at all neither hidden phobias nor suppressed desires. That's why we must be very accurate discussing this "ego": it is easy to confuse it's activity with the predilection to "the spirit of the time" or with the stylisation manners. The predatory details in the drawings appear best in fine particularises: almost claw-like configuration of the leave which covers genitals of Atlant, acute, aggressive instruments, zigzag-curves branches, fern similar to the fish skeleton in a bottle, huge jaws of the bug near to the girl of a quiet aspect. It is not so much tragic, how much cold, estranged feeling of life. Whether dancers really dance or not, it is not clear. Well-traced human body seems more unreal than its illusive vegetative vis-a-vis. Lone instruments, lone books. A gloomy room of style… In the foreground, there is an impressive book on a music stand. Probably we see the library... Is it a door on a background? The arch made of stone is closed by cross beams - no exit; on the left of the arch a stairway leaves vertically in the darkness of an attic or a sky; loneliness, discomfort, "abandonness", the uncovered book reminds a bird - where it can fly? Where here to fly? Anywhere, only far from this world, by Bodlaire. And we look on the caravels on engravings, - of cause, caravels (it should be strange to draw our modern armoured saucepans). Caravels, which great refinement carefully thought over light-mindedness, let to whim of a sea wave, winged immovability of clouds and noctuelles. Besides caravels if to use expression Gaston Bachelard, have "onirique value". They are designed not only for the terrestrial seas, but also for spaces of magic geography, for that Ocean, where our reality is only a meandering isle in boundless dreams… Problem: only whether the word "caravels" drives a lyrical burst, or just caravels, figured by Dmitry Vorontsov. Probably, both that, and another. On an engraving in pale - creamy-brown tones the ship "ploughs" the sea, as furrows are appreciable; the details are traced quite carefully, the caravel is graceful and air is compared with rather dense random clouds look like flocks of sugar cotton wool or a marshmallow. Much more curious other composition: does the caravel sail here? Or is it steeped? Between sea and skies, as if it is in the stoic Posidonius' ecumenical Ocean: the ship shades, rather than illuminates a pink flare of the sun of a restless pearl-grey sky faster. All this awakes associations uncertain: caravels, probably, in depths of waters, despite of the inflated sails and the direct flags, below something, recalling underwater flora, from sides hang down strands of difficult to understand filamentary substation - viscous captivity or driving, dream or reality. Hair, seaweed, jelly-fish-like plants, gummous, viscous, and ruthless - there is an agency of a sea bottom, terrestrial gravitation, but not only it, natural. On other drawing there is a sailing-ship "on chains", but it doesn't look like an anchor chain. The ship is made fast to the bank? Or is it arrested? The chain is lost by an in the long term leaving road, on this road, by the way, it is possible to hit on the ship. But, probably, the matter is easier: an anchoring berth on an oblique vertical of aquatic stratums. We would like to wish Dmitry Vorontsov the luxuriant vegetation: orchids, growing in air, decadently broken, picturesque forcities, naive pleasure of cyclamen lobes. Probably, Dmitry Vorontsov's drawing somewhere reminds William Blake, Audillon Redon, Felicien Ropes with some "and so on". And we want to say "oh" in the indeterminacy of the caravel. Eugeny Golovin |
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