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Article
(Press-release, Chelsea, New York City - Svetlana Vais, Art-critic)
BLESSED WITH NATIVE TALENT
October 2002
InterArt Gallery proudly presents one of its most talented
artists, Dmitry Yakovin, representing a generation of potentially
important Russian painters. Blessed with native talent and
his awareness of his possession of it, he received his academic
training in one of Russiaís foremost academic institutions,
The Russian Academy of Art named after Ilia Repin.
Ground securely by his systematic academic background, the
artist was enabled to work in differing, artistic genres.
Dmitry Yakovinís early productionsí diversity
impress the viewer with their zest, indications of future
creativity, and the great proficiency demonstrated by the
artist. His early period ñ if one call a time such
for a person now only thirty-three ñ watercolors, drawings,
paintings ñ meet the highest standards of the traditional
style in his homage to it and consequently may be evaluated
as completely professional. But no true artist can be considered
a real master unless he attempts to make his creations express
his own individual vision.
It is here that the artist begins to struggle to address the
most important issues in his own unique individual style and
to be heard about them. Dmitry Yakovin moves here from representational
realism into his own aesthetically conceived world of fantastic-realism.
Unpredictable characters, which appear on his canvases in
each painting, stimulate the spectator to confront paradoxical
phantasmagoric (whimsical) reality. The subjects take on their
own life and wander in and out of the paintings.
They sometimes remind us of lifeís fragile transience
by their recognizable forms and human faces yet often invoking
smiles of incomplete comprehension as when one sees a philosophically
passive elephant flying. . . The unity of style demands the
constitutive force of an inner artistic sensibility expressed
in the search for new color and compositional embodiments.
Reincarnationís eternality penetrates with such force
that it transforms Dmitry Yakovinís new world of illusions
into an immersion (for both artist and spectator) in the controversial
paths of the surrealistic vanguard.
Defined by Andre Breton in ìthe Surrealism Manifestoî
(1924) as ìpure psychic automatism, by which one intends
to express verbally, in writing, or by any other method the
real functioning of the mind: Dictation by thought, in the
absence of any control exercises by reason, and beyond any
aesthetic or moral preoccupation. Following this definition,
the distinction between cause and effect as well as the requirement
or temporal continuity need not be present in newly created
art works.
The audience will experience instead just the mutual interpretation
of worldís juxtaposed one to the other. After an analysis
of Dmitry Yakovinís painting that fits into the rubric
of surrealistic expression, one can conclude that even after
the complex process of psychological refraction, they attract
the audiencesí eyes as if by magical power.
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