The category of Sublime which emerged in the 18 century and for a long time determined the course of esthetic thought of the West - is now also a kind of antiques, but not deprived of its philosophic sense. Where did this course lead us to? In the epoch of globalization and social nets society has changed radically and lost its former antropocentrism. As a result the capacity of an individual for esthetic reflection is not significant nowadays, not actual. It has turned into an absent measure of things like a body was for a pile of clothes, once new, now worn out and forgotten.
Torn out from its context material manifestation of Sublime is a sculptural embodiment of the dramatic multiplicity of surrounding world and society – in fact it is a lifetime epitaph to itself. This ephemeral phenomenon is no more memorized by monuments. That is why this project aims to fill in this gap and to create an ironical memorial to Beauty or, to be more precise, to the value of esthetic opinion which differs so much in Russia and Europe.
This idea is rooted somewhere among treasures of antique boutiques. Once I found there a wall candelabrum that attracted my attention: the usual for this piece of furniture brass was substituted by papier-mache. I don`t know if the artist who did it persued some high concept. More likely it was done just to reduce the price of production. But it impressed me much more than all the genuine and fake rarities around. The effect of substitution of one material to another, seemingly more chip, illustrates the idea of relativity between price and preciousness. I decided to develop this effect and to choose it as art method for my future project.
The works are to be shaped as epitaphs of the 17 century. Playing with the motive of a baroque draperies of Gilles Deleuz I want to try to metaphorically turn backwards the stream of trophies which for a long time flew from West to East. The epitaph is made not of stone, but of a soft and seemingly non-lasting material – fabric. But life of a piece of fabric may be more rich than of a human being and the décor on it turns to be more solid than ideologies and political regimes.
Forced decorativizm, accented “prettiness” of the chosen media articulate another actual conflict between uniqueness and diversity of manifestations. The uniqueness of Beauty and of an individual who reflects upon it from one side, and diversity of forms of this beauty, which discredit it - from the other.
Formally the future work refers to the genre of vanitas - esthetic reflections upon “eternal Beauty” and mortality of life – but in different epoch it is aimed to find meaning in the Beauty itself. If in the past the earthly beauty of life was opposed by divine transcendental beauty of god and the lost paradise must have been replaced by the paradise prepared, then what can lie in the context of these seemingly sentimental reflections today? After all an epitaph as a genre cannot be separated from heraldry – new heraldry of a consumer society and its alternative and compensatory mythologies on the background of alienation of a sign from its significance, a human from humanity.
Where will lead us today the search of a lost paradise, leaving which Adam and Eve for the first time thought how they looked like?..