Vadim Shamanov abstract art painting

Birth of time from the spirit of music

Paraphrase Nietzsche can be understood literally. Our author has devoted to music twenty years, performing on the guitar of the melodies of Barrios and Rodrigue... and secretly dreamed of the freedom of creativity, which he imagined in painting appeal. In the evenings, going to study, with white envy looks at the illuminated windows of art workshops... And did not see how the dream came true - and he was on this side of the window. 

Shamanov uses in his work palette knives, stacks, spatulas. Just recently put aside a brush. However, his painting method more seems to a virtuoso duel in the Hong Kong film-ballet. Actually, our artist works more balanced, calmer, more thoughtful. In the end, more melodious. 

Shamanov is a perfectionist. Recycles, rewrites and rethinks. His abstract compositions of the last few years dealt with the visions of mountains or forest clearings. But when an association becomes too obvious, the author sets aside a canvas: not that, not so. The content should only be foggy to guess, as if in music... And strangely enough, these fresh, emotional pictures are often the result of imposing dozens of layers of paint. 

He seems to have been able to subscribe to Gerhard Richter's words: "The non-figurative reflects a reality that we can neither see nor describe, but may suddenly stop its existence". That is, not to kill, but as if to complete the performance of sonatas, symphonies, toccatas - all of them have a touch to the general, and not fractional-concrete. (The motive for improvement is related to music "next time", but here - it concentrates at one point in time).

Do not search for this, you will not find it. Shamanov is a connoisseur of the subconscious, which, according to his plan, "Would have been understandable both for Finns and for Albanians". But in painting, time stops, to split off the vision of the perfect, here and now. The requirement of the current moment makes for bold invoice experiments.

Today, he likes the bizarre patterns he guesses on the OSB plates. Tomorrow is the cold flickering of steel, which allows him to "escape from the plane of the canvas". With the last one, as with a brush, I used to be a friend. Those times were gone. From traditional painting - he studied in depth the three-layer technique of ancient craftsmen such as Hals, Rembrandt, Rubens, Vermeer and others. He took everything he wanted from them. (The only thing that left himself out of the classical repertoire is the oil paints: "They are ageing well").

And now he continues to be like a wandering student with a knot behind his shoulder... However, this is also a metaphor.

Oleg Sidor-Gibelinda
ukrainian art-сritic