Alexander Dashevsky works with space, or to be more precise, with the way the space is represented in painting. The artist presented the three-dimensional geometry in his transparent, greyish-blue ‘Swimming pools’ and in the bright green allotments in Pulkovo, inspired by his favourite painter Diebenkorn. Familiar landscape provoked the thoughts of different kinds of space depiction after abstraction.
Alexander Dashevsky loves Soviet architecture. He singles out Soviet modernism of 1960-70, which was followed by constructivism. He portrays Breshnev’s new buildings in his series ‘Estate property’, where he creates the picture from individual blocks, following the same principle used in constructions of these buildings. Composed from fragments, the wall of a block of flats appers to be a fragile esthetic treasure.
Alexander Dashevsky works with ideas of construstivism, but not literally. He doesn’t follow the ideas of constructism painting of 1920; he neither creates constructivism objects or works in photomontage technique. In his new project ‘Partial losses’ Dashevsky transforms constructisms principles. The pictures are created by animation of some elements with a particular pacing. These elements are the fragments of the picture, as though cut from it, and they are turned into three-dimensional objects. The objects are tautological. There are a post box, a fan, fluorescent lamps; commensurable to their prototypes, they enter three-dimensional space. As Frank Stella used to say – you see what you see. The fragments become reliquaries, which store the past – the relics of modernism. ‘Partial losses’ creates architectural space, they are not ‘an interchange station from painting to architecture’ any more (as El Lissitzky called his prouns). Dashevsky works with figurative picture, but the main difference is that modernistic picture of the world disintegrates into segments. The image, created by the artist from the three-dimensional fragments of subject world and spatial censures between them, materializes instability of our existence, lost data, lack of self-confidence. Dashevsky calls it - the picture of the world in the moment of its collapse.
It is industrial art, which creates the objects emboding social relationship. However, the industrial objects that once were praised in the epoch of functionalism now fall out of the obsolete myth’s context about social justice and the victory of mind. Somewhere in the cracks of this myth there is a lost concrete mixer and the ladder leading to the forgotten memorial to become evidence for the deductive method of Sherlock Holmes.
To be continued...