Opening Reception on Saturday, April 22nd from 6 to 8pm
ROBUST ART LYRICISM
Graphic arts and paintings of Vladimir Temkov
Since its first self-representation 1983 in his native city,he created the now hundreds of pictures and graphics in which is anchored its recognizable and authentic creative “I “ with motif scale and style. It is the art continuously throughout a wide range of variations on the originaly discovered and fixed source style handwriting, aside from the sharp themes-stylistic corners and experiments. Vladimir Temkov is basically lyricist and he always recognizes, brightens, shades and develop the adopted subject from within, not outside. Hence his ascetic thematic repertoire, that is reduced to a few inspiring subjects, such as bird, fish, cereal landscaping, dig seeds and a few others, is not talking about the imaginary avarice of the artist, but his inner insular and processing of that repertoire. In that sense, to remind ourselves of Paul Valery who claimed that the invention of the author does not reflected a priori in the richness of his vocabulary of motives, but in its ability for variations of one or several same objects.
Vladimir Temkov with his art, appears in an excellent example to illustrate this view of the French symbolist, which is very incisive and accurate. This conclusion holds if we say that he is par excellence an affective painter, as is commonly assumed that the masters of the variations are the artists of rational spiritual type. But that’s not true. Temkov is affective artist in the most beautiful sense of that term. Emotions are spiritus moments in his paintings.
He himself gives a reason for such observation, when in medias res wrote in his catalog that “emotions are speaking out through color” and it means that she eats them and is their equivalent. This view was calling into our consciousness Nietzsche and his philosophical concept of apollonian, ascetic and emotionally deep and Dionysian, ecstatic impulsive expression of the soul that creates art. Without doubt, however, that Vladimir Temkov belongs to the Dionysian type of artist. Such as it is, if we consider modern Europe, his paintings are naturally connected with the painting and expressionism fovizmot from which emanates style and expressed it. It is an art that every move, every colored structure and voltage of the imagination to give us an indicator of affective soul that speaks the language of a robust lirizam, completely spontaneous and free from any strictly rational concept of contemplation and reflection the art object and composition.
In our view, the painting of Vladimir Temkov often as if starts from a aesthetic musical leitmotif, the closest to kantatata, for it continues to transform and develop into exemplary colors and art associations. On act here is one of the basic principles of modern art, as A.Rimbaud defines as “a disorder of the senses, synesthesia, when the sound is perceived as color, and the color as sound, or when the eye hears and the ear sees. This principle is achived by the powerful internal intensity of emotions, affective with planty of soul, which, of course, leads to a kind of Dionsysian art.
And the art objects themselves dominant in the latest exhibition of Vladimir Temkov, largely obsessive for him, cereal landscraping and hay-stacks, in some way speak in favor of such a expressed concept. These are his full emotional motifs, painted with impulsive aesthetic in which, beyond the senses, it goes a landscape and to the metaphysical and difficult spoken. Even when we have before us the clarity with inspirational subject to its bunched visualization with robust lines, or layers of paint, and with his linear structure, he wrests to the real. This is because the cereal landscaping an hay-stacks, that he paints in hundreds of variations, are simply not truly real and realistic for this artist, but mental landscapes. These are landscapes of the soul, which remembred them from the childhood, a period which, as Rikle says is a “food for our entire art.” Therefore, the light dominates in them. The paintinfs of Vladimir Temkov, actually, in general are one painted and sound light deluge that comes from the memories of childhood and children’s soul, which remembred the native landscape of cereal and hay-stacks in his, almost mythic purity and innocence. That source for this artist is, it seems, uncontrollably ample and inexhaustible, and it continues to shine trough the most sincere depths of his soul, on his great canvases as well as on his miniatures. At one and other that “manuscript of being” (M. Heidegger) is the same, maximum ecstatic, sound colored, joyously lighted and always lyrically robust.