“Love for Animals” (2020)
A long time ago, I was planning to create a photo project on the attitude of people to animals. This burning issue is not new. Therefore, I was looking for a form that would not be similar to all the things that had been done on that before me. As always, it was essential for me to find a minimalistic, simple solution, that at the same time, would allow the spirit to inhabit in the image. To my surprise, the project turned out to be very suprematist in style.
My actors are ventilation windows of the basements closed by the residents of the multi-eyed concrete hives. Homeless cats, dogs, birds usually find a home there. For many of them, this is a hotel, a maternity hospital and a canteen at the same time. I go to different neighbourhoods and take photographs of the way people seal these holes where animals could spend the night. As in contemporary art, anything can be useful: wires, boards, trash. In some sense, this is an “isolation”, too, as, perhaps, during this garbage confinement, those dogs or cats could remain in the basements. I sincerely believe that such trivialities create a larger puzzle, where people themselves are already imprisoned. Self-imprisonment, self-isolation, etc. It is impossible to love some animals and to take away the only shelters the others could find. Those who created these art objects (and those who support it) have always been, are and will be in isolation themselves, in inner self-isolation from reality.
Through the language of photography, I give my actors (ventilation windows) the role of heroes, where they become Suprematist still lifes, revealing characteristics of the psyche of individuals, and part of the society as well. Working on this project, I recalled the words of Pavel Filonov, who insisted that the painting should be tackled out at the atomic level. Here, every element of a still life (even at the atomic level) bears the signs of the attitude of these people to the world. A world of self-isolation from the same world!
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