INFLORESCENCE №1. ODESSA CHERRY
INFLORESCENCE №2. SQUARE
INFLORESCENCE №3. APPLE
INFLORESCENCE №4. JAPANESE CHERRY BLOSSOMS
INFLORESCENCE №5. WHITE HORSES
INFLORESCENCE №6. EXPLOSION
INFLORESCENCE №7. COLOR CHERRY
INFLORESCENCE №8. CHINESE CHERRY
INFLORESCENCE №9. EVENING CHERRY
INFLORESCENCE №10. CHERRY GARDEN
According to Anatoliy Gankevich himself, the paintings of the project «Blossom" is an attempt to combine the finest, light Japanese engraving on white paper with heavy, brutal mosaic panels of Western Europe: ink and smalt , thin paper and coarse cement. However, we are not talking about the Japanese engraving in the project "Blossom" directly. But the way related to art we can call Japanese. "In Japanese art, the pinnacle of beauty is something in front of which a person is shaded, disappeared".
The basis of the exhibition is ten large-format paintings made in the original technique used by the author since the early '90s consisting of traditional painting techniques due to the application of pastose convex paint. Anatoliy Gankevich manages to simulate the mosaic effect on canvas. The complex mix of the texture of the picturesque surface of the canvases combined with exquisite monochrome, compositional completeness of the artworks and lyrical unexpected plots allowed the author to achieve a combination of several cultural and aesthetic paradigms. Antique mosaic, Japanese engraving, an irony of the contemporary art do not only conflict on the canvases of Gankevich but organically complement each other.
Blossom is a feeling that a person gets when light rays hit him in the eye. The same light effects can cause different feelings in different people. For every observer, the true blossom is the one he sees himself.
At first, we decided that text for this project would be unnecessary.
I wanted to leave behind the instrumental reasoning, delve into the observed, see and feel simple things that exist only for their own sake, as objects of internal value. Any explanation of this idea with words is not enough for me so I will try to convey as modestly as possible only those thoughts from which I started.
At first, innocent, childish simplicity was a fundamental quality of the project. Then I wanted to take something lying on the surface. I was looking for an ordinary, clean, but at the same time real, heartfelt image. I thought about a banal view from the window or on the street, without people and the environment. This angle can be taken by anyone who owns a camera. Routine is nothing. But this Nothing, as you know, can become anything. For example, a living mystery, fractal system (all the big things repeats the small ones, from which they consist), which develops into a chaotic pattern and composition of branches and flowers.
Probably all know that emotional effect from the first glance at spring flowering trees for the first time every year. One day you just go to the street on a sunny spring morning and see that everything blossoms. It seems that everything is so painfully familiar: spring, "wedding of flowers", but you feel this mood in a new way every time, as a joy to a new, clean sheet of paper. You know, it happens once a year, but you're excited about this gracious feeling of novelty, which excites us every time, and which we forget all the way.
First of all, I see imitation (one of the instincts in human nature), copying, the birth of a new one in the flowering trees. Flowering is a spring, sexual time, which concerns us on the relic level. This is a loving mood. This explosion of desires all living beings experience from year to year, but the effect every time as usual but new.
Now, then I thought, “So be colour!” This is how the feeling of novelty appeared on these canvases.