Vyacheslav Useinov

V. Useinov was born in 1962 in Ferghana. In 1985 he graduated from Bobruisk (Belarus) Art School, specializing in stone carving ". Currently lives and works in Tashkent. Since 1992 - member of the creative association of the Academy of Arts of Uzbekistan

. Sh Abdullaev of the artist's work
. In the applied arts, . where there is a semiotic paradise and visibility soiled items, . ruled memorized a set of creative operations and honorable gesture of thousand shadows, . a decisive role still will not let the strong traditions, . but something more ephemeral, . more immediate and personal: the magic of cause, . every time is different and yet incite one goal - to rehabilitate the non-existent,
. Artist, . regardless of unselfishness to the objects, . not accept, . essentially, . Reality or, . rather, . runs her, . reaching the end of the work, . from the latter features, . because to him powerfully cry fruitful illusion, . tschas come to life without the forms and meanings (as Nathalie Sarraute wrote in a recent article on Flaubert - time destroys the style and meaning of the most perfect works, . retaining only their substance, . if it arose as a fatal necessity),
. As Vyacheslav Useinova, in his case is particularly noticeable intense naturalness, almost VISIONARY aimed at the expectation of some important events that put off indefinitely. You're full of it, being deprived here. For such a state, . thanks to his sincerity (as if it came from, . , what kind of question!), . already pre-connected to the content, . what are you waiting for, . which at some point, much more, . than efforts, . spent on daily reflection, . of silent spell of tranquility, . with what should have always welcomed new unrealizability,
. You literally feel the open air anonymous root causes, and there is no essential difference, that now owns you, - intimistskaya or zoomorphic imagery, ethical or epic aura, white or woolly tapestries cover. Suffice it a fleeting glance at the objects, . paintings and texts, . created Useinova, . as is immediately obvious, . he had merely a rock, . throws him a challenge among the stale rules and vegetable everyday conventions in any field of artistic research - from optical travels to literary impressions (painting, . chii, . Graphics, . tapestry, . poems, . sculpture, . etc),

. He author's narcissism, . strength of the material does not actually dare to be the reason for free adaptation and suffering, . but something, . continually surpassing wizard behind, . some urgency (as Useinov once confided in his essay "The Touch": continue - the inevitability), . whose origin lies in an empty authenticity or genuine emptiness, . not amenable to account and not having divisions, . in the full presence of sucking you Atmospheric, . unquestioned only once, . probably, . Childhood, . early youth, . first one-teacher, . the first kicks of the poetic aberration, . love, . south, . torrid space,
. Long conversation with the artist inspired me with the idea, . he felt the impact of imprinting and the stunning vague nature, . hidden in the world, . somewhere in the thirteen-fourteen years: our past urban fringe, . landfills, . turbid rivers and low houses, . brass knuckles in the dark hand and Turkic mat, . pocketed a narrow distance from the parent to the hovel scorching wasteland, . ashes solitude and quiet,
. That's where he draws hypnotic avalanche of impressions, dreams and take Fergana Finisterre. To master it does not matter what he touches - canvas, wood, metal, painted fabric or paper - handwriting and the spirit does not change. Tapestry, . seemingly, . not quite a cozy nook, . they mark the place where the typical literary chimera, . pretending wool, . silk, . four points, . "superfluous" Fifteenth kiotoskim stone Soami, . foaming waves, . angel, . used by children in street games mutton bone, . Household Oriental trifle and frozen in a rigorous modernistic ekstatike,
. But look for some reason without obstacles susceptible to the pressure nalivshihsya fixed polyhaniem tapestries hallucinations. Or suppose - chii, which has taken under the hand of an artist quite modern fluids and texture, and sometimes becoming fragmented recollection of a distant mystical doubt.
And what are the names that give access allusive walks and forcing did not catch as many quotes as dormant meanwhile monostihi. "And the locusts progryzla land before the grave of Abraham" - a line from the penultimate poem Saint-John Perse, . voice of the Jewish shepherd or twilight song, . correcting the viewer's attention through the hearing, "Longing for the Mediterranean" - a reference either to Lawrence Durrell, . either on apollinerovskuyu 'Zone', . whether Emilio Cecchi, . - Mediteranianskaya blue (who does not dream disappear in Italy), . Diffuse and under our sun, . steppe, . in the valley between the ruins of village in the hard anhydrous suburb at the foot of bile veined hills "Nails for a second crucifixion" - though better - "The second nail for the crucifixion", . but, . like whatever, . they, . those twins, . that accompanied him to Calvary, . recreated in front of us on the edge of the restricted validity, . through which, . however, . discern the signs of maneristskoy poetics, "Fogs sentenced lips" - these words, . if I'm not mistaken, . included in the marvelous useinovskuyu note "Godard and Painting", . and in them I fancies glow postsimvolicheskih Associations, . close, . according to Italian critic Francesco Flora, . to "lack of poetry", . from whose depths and outer layers removed the sign and do all the familiar landmarks, . but, . main, . strikes are more - like the name is read instantly and all at the same level,
. There is a feeling, . that Useinova plunges into meditative tetanus primarily two things: either the lyricism of the book and cinematic allusions, . a strange oppression of the Fergana landscape (the artist does not allow to be familiar place here the edge of small and local, . but weaves it into the current and the thickness of the world's troubles),

. Vertical stretch fantasies Arto, . Seventh Seal, . Janus, . bulls and the blood of European novels, . invisible inarticulate Prophet beside the burning bush, . Journal Duino Elegies with a tiny sun in wings, . Unsuccessful letters, . graffiti on the stone of the Japanese characters, and so on,
. Horizontal kopyatsya details lowland Topper, . outskirts outskirts, . unforgettable countryside, . where everything is happening as if with a lunatic zeal: beshbolinskaya oven, . hands of the provincial population, . raised as if in a sworn arm swings at the meeting, . mountain ringed turtle, . pepper guardian of skullcap, . pale-blue Color suburban neighborhoods, . flat roofs and arched roof in the background, . lizards and animals with big eyes, . like actors theater of cruelty,
. In this kind of work is not that amazing, and how committed, . not motivation, . but the duration and severity of the incredible mystery of labor - especially in the tapestry, . whose depths Vyacheslav Useinov find their own distance, . own detachment and extremely valuable substrate,
. In this situation, the master forgets names, . in fact, long-mouldering, . resting beside him things, . their shape and so, . feeling clean, neutral framework, . to which enclosed her own conscience and the essence, . and not the dust of its former unity and clarity, . usually slows down as suggested by the consciousness, . suspected in any inflamed, . subjectivist volitional submission flight to introspective gloom, . in formlessness - only one way to preserve the artistic reputation, . degrading manner of writing and faded emotional Eden,
. Tools and enigma, . tools and eidos, . bypassing available, . with the ability to insist on its huge problem, . still establish a conspiracy between: board, . iron, . thread, . synthetic plexus, . lumps of concrete matter deidealiziruyut reality and yet remain in it as confirmation of its quality,
. Because there is no guarantee, . that nature always takes one, . canonical, . zaslezhenny mythical maturity path to the paradigm of universal, . and a normal approach at least to consider the truth, . that flung around diversity and a fan preferences, . indicating the secret paths to the absolute seriousness of the other,
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Actually, there, at the nadir, "I" does not look for physical similarity, and not even daring discourse (the main idol in the temple of postmodern), but, again, the magic began, or at least a faint echo of it, trembling in the lyrical transgression. Time and again we find ourselves in another's territory, where it is useless bygone days. Cautious opening of the previous period, . thought yesterday imaginary greatness infantile impulses and mannered irresponsibility, . next generation develops immediately and urgently as if to spite the instability of their innovations, . otmazyvayas from its own reserves of the decadent, . topical, . by the way, . in our fin de siecle, and ultimately found it turns obvious and taken for granted organic lasting culture and no man's environment,
. Useinovskaya a good sense of megalomania in the works, perhaps, to stir up fear to lose sight of the primacy of the elusive. Hence the proliferation of chthonic parts, simulating the proximity to her, to prenatal spring: stones, insects, plants obscure essay, mottled surface of the clay soil, the village oven, like the earth, standing on a par with a woman of average height. Hence the author's unusual speed and passion continually immersed in a plastic chaos in bright Dionysian flux, whose formlessness can curb mostly marginal discipline language, methodology, and an eye for style. Viacheslav Useinova through monumentality formative principles germinate almost demiurgic hardworking, stubborn and dream of doing in the bliss of difficulty to pull out all the veins of the emptiness and uncertainty.
We hardly need a story (narrative completeness of reported flashes, fragments, and fragments of everyday), a painfully familiar narrative quest in history, distracting us from our private history. The artist gives us the right to besfabulnye state, at best, an ethos and a visual feast. Colored ropes interspersed with stone types of veins in the Garden of Rean-Z, . doubled up after forging metal branch saturates its fabric image in the empire of signs (again Far dream); mahalla line and chipped to remove the asphalt turned into dark dots, . where the boys throw oshichki (sample in the left corner hints at the cradle and the vena, . drew even with the age-old mazarskoy wasteland Muslim graves without tombstones or cenotaph), . tempting a few passages of future episodes and destiny; wool bears greenish-pale female mask and Mediterranean horse, fish tail at the nape kiotoskoy Geisha (remember, . work product of seven years ago was launched simultaneously with the reading of "Old Capital"), . tiny coal basin at its old worn face and on top of sacrificial scarlet moss, and the target of "Black Animal forced to admit they oniricheskuyu pain and dark psychological pathos; round yellow snapdragon tandyr (remember with pleasure the same metaphor of a vibrating furnace mist into a sophisticated cartoon" thread " another fergantsa, . Sergei Alibekova) is transformed into a masterpiece of passionate vision and vigilance in neizbytoy tapestry "interval", . in the center of which is placed a strong, . in the form of pupil, . embryo visual structures, . vihryaschihsya mechanisms, . placed in order, . to kitsovskie beauty and truth of the odes of the Greek vase resurrected his inexhaustible there, . where they are least hoped to find,

. Stress and satori, . as I noted above, . experienced by the artist in childhood, . Assertive remind myself (parasitizing on useinovskoy lexical verb, . "ruins reminded myself" - a line from his incomparable text "Prelude") in an abstract today and in the immediate fictitious dullness, . more frequent and tea in terms of past, . country, . whence do not return empty-handed,
. There was a child, you went to the end of the street with his beloved dog in the rays of the summer, and the advantage of all the adventures and scenes in the future before this summer afternoon is that sometimes they give a chance to honor him and dare to echo him from afar. These impulses past the paintings and the lost of light, usually achieved by Hypo attitude to uncertainty. Stones, . butterfly, . horse, . locusts, . little sun, . amulets, . birds, . resemble gorlyashek, . sparkling ashes rotten grass and rags, . oval door entrance, . circuit Cretaceous-misty arches, . horned beetles and cattle, . men with shaven skulls, . lizards, . winged creatures, . cork scrap, . rolling in the crucifixion, . fish and their impression, . black and red, . big-eyed "guests" between animalistskim and human, . asexual figures between hypocrisy and sleep, . Ornamental withered remains of the season in the ribbed bends ences,
. These surviving memories and oblivion, filtering and replacing each other, create conditions for the exact insights and overripe charms, just waiting when the stroke of the hour
. Regular meetings with creativity Useinova any regard for the work he show us the way, . it in general, never deviates in the maze of modern intentions and self-perception of a clear case of rays, . leading us to the literary sources, . in retrospect, . to the area (greater, . than language), . to the formalist insights, . to the natural home idyll, . trying to be sacred,
. Sacrifice of animals, . people and gods, . details of the morning tea and a cross, . movement of the hands of skinheads shepherds and child-Christ, . point and the unknown through the eye relief ligature, . lost, and stood out tenetnye stones and flowers, . istaivayuschie to pale background, . whirling furnace ash, . water, . waste paper and the surrounding mummies in the Fergana wastelands, . expressive dualism and antinomy in the very names (such, . "Sacrifice ablution" - like cleaning the death or killing of life, . whereas in the semantic-color mirror pops up again black and red pair), . medieval inclination of the head of some male characters and disturbing impersonal, . emphasized concealment poluzhenskoy appearance, . God's birds and Druid echoes in the human outline smoky pagan trees,
. This deliberate palimpsest, . involvement in the same, . persistent turns in the same well-trodden plot gives the uniqueness of such a recurrence, . increasing in the works Useinova honest, . productive autonomy of its authorship, . seems to be impossible in our days, . as closed in a quiet, . sparkling separately, . outside Stories, . morandievskaya thing,
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Shamshad Abdullaev, "Prelude to Checkout"
. Preface to the album V. Useinova
. (The publication was
. Uzbek Delegation of the Open Society Institute --
. Assistance Foundation, Tashkent, 1998)
.
. Poems and essays Useinova B.