sergej glinkov
paintings
Non plus l'intériorité de la conscience, mais l'intériorité de la matière moléculaire, l'intérieur d'un pierre un millième de second avant qu'elle ne se désagrège.
André Bernold, Dialogue entre Hylas et Philonous sur Geer van Velde
The creation of a work of art is a testing ground where one confronts a system of orders: in my field, the figurative one, these orders are mainly dictated by the subject. In figurative art the subject has a redundance that always projects it to the foreground, to impose its own discourse. "What does it means" displaces "how it is said": painting is belittled in its hands, siphoned off into literature.
To bring the discourse back to painting one can only take the subject off its gravity. For the artist this means activating all of the possibilities of painting, to bring it to its utmost expressiveness.
In its wandering around visual objects, the act of painting may cross a fortunate fraction of time. That fortuitous event is the image, a still-frame with the whole animation of life unfolding within.
Sergej Glinkov's oeuvre spans a period of about thirty years, in which he has developed a personal expressive line characterized by a constantly renewed balance between figuration and abstraction.
His pictorial language recalls echoes of modern Western and ancient Eastern visual experiences, and it has one its major departure points in Oriental painting, which is central in Glinkov's research since the beginning of his activity in Kiev (his birthplace) and then in Venice, where he accomplished his academic studies in art and architecture.
Glinkov's works was shown in several solo and group exhibitions. They are included in diverse public and private collections, both in Italy and abroad, and documented in various catalogues and publications. Since 2010 he collaborates as painting professor with the International Summer Academy of Fine Arts and Media in Venice.
