коллекционированыепроизвидения брендового художника
Ashkin creates his own content, every canvas is a paradigm, a universal algorithm, like Borges’s «Aleph» containing all aspects of our worldview. Here, there is a legacy of the past (in some works references to Rembrandt, Latur, Vermeer, Goya, Picasso, Turner, Freud, Bacon and even to El Greco can be found – this is a series of oblong, peeping out from the dark faces with empty eye sockets), a visual series of modern cities with outlines of high-rise buildings hanging in the clouds, the mass-media dictates, and characters from films and advertising, wandering among people.

“Birth and death, ugliness and beauty, sublime and mean – all of these coexist, repel each other and in the end synthesize” – says Eshgin Huseynov. Likewise textures, colors and techniques, contrasting and even arguing, merge and smoothly flow into each other. That is why everything that I show is not an instruction. The viewer can think out, complete and find his own meaning.

“The Path” Series

Visual poetry

If Duchamp, Jones and Rauschenberg displayed utilitarian objects for non-utilitarian contemplation as Ready-made, then Eshgin displays luxury fashion clothes instead of a stool, sink or wheel – the true heroes of our time. Stylish mens`s shoes – moccasins and loafers from Gucci, Etro, Tods, Louis Vuitton, Chanel – are portrayed on canvases with playful and multi-syllabic textures: acrylic, oil, a spray bar. To one of the сcanvas alpine skies are attached. Brands-obsession, aggressively forced up by glossy magazines and television, from psychological point of view is associated with the two reasons: actualization and affiliation – in other words, with an attempt to fit to something, to go through in a significant social group. Ashkin’s shoes represent his way of self-presentation and connection with an outer world and the ground. That is the reason of their position: we see the shoes, resting at the bar counter of some prestigious night-club, or watch them, confidently standing “on feet” directly on the center of the canvas, or notice them somewhere on the edge, trying to hide and run away.

The pictures are a gesture, reflecting a human position, bonded with a society, drawn with consumerism. A viewer can put himself in a hidden figure’s place, to feel an owner of his life, a snobbish aesthete in, for example, Alexander McQueen’s shoes made of deer leather or can ski or snowboard to feel a fantastic energy of levitation against the ground, escaping. This is a visual trick, magic. A general idea is much more primary in the modern art, — the artist says.

And totemic archaism

Horns pierce the Suprematist red square, the Jazz-Kandinsky style abstraction, a mandala, a Buddhist circle. Thin birch trunks sprouted up into a black-white-red tricolour. A nail dug into the textured canvas: optimistic grass-green, mystical lilac, and imperial red-gold colours. Peacock feathers stuck to the pink-azure.

One of the most memorable series of a young and original artist Eshgin Huseynov — «Penetration» — is a vivid and self-representative creative manifesto. It seems like archaic zoomorphic gods came out of their thousand-year-old caves to pave the way to Contemporary art that is turning into a mechanism of escape from yourself: into emptiness, uncertainty, the absence of definitions.

I`m turning back to nature, to its strength, creative and destructive components. When entering the sphere of art, the horn becomes an aesthetic object. We look both at art and nature on one canvas, — says the artist.

The horns piercing the «great narratives» as an image and a statement bring together Ashkin and conceptualists. Here Marcel Duchamp is recalled with his art of gesture, the Saatchi Gallery exhibitions and, of course, Damien Hirst, who wore Francis Bacon’s troubling macabras into large-scale commercially successful works. But if a formaldehyde shark («Physical impossibility of death in the consciousness of a living creature») was a dispute with the immediate predecessors, then «Penetration» appeals to the fundamentals. The Black Square, that defined the development of art for a century ahead, ascended the art sky in 1913 in the futuristic decorations of «Victory over the Sun» opera, embodying the triumph of the human will over spontaneous passive nature. The horns «object»: nature takes its toll. But this is also the originality of the artist, making it difficult to refer his works to any «ism» definition: nature does not destroy Contemporary art, but rather penetrates into it, get involved into it, becoming a new starting point.
Moreover, the Ashkin`s horns is not an aggressive but rather vital symbol: «They are actively used in the mating season, and many animals lose them in autumn,» he explains. «I`ve even learned to determine the age of animals by the pattern on the horns”.


























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