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Artist:Pavel Tayber
Signed By:Pavel Tayber
Size:Large
Signed:Yes
Period:Contemporary (1970 – 2020)
Material:Canvas,Oil
Region of Origin:California, USA
Framing:Framed
Subject:Boys,Children & Infants,Community Life,Costumes,Family,Figures,Gaming,Ladies,Masks,Men,Musical Instruments,Silhouettes,States & Counties,Women,Working Life
Type:Painting
Year of Production:1999
Original/Licensed Reproduction:Original
Item Height:32 in
Style:Abstract,Expressionism,Fantasy,Figurative Art,Impressionism,Modernism,Postmodernism,Russian
Theme:Amusement Parks,Art,Continents & Countries,Cultures & Ethnicities,Domestic & Family Life,Events & Festivals,Exhibitions,Fantasy,Fashion,People,Portrait
Features:One of a Kind (OOAK)
Production Technique:Oil Painting
Country/Region of Manufacture:United States
Handmade:Yes
Item Width:26 in
Time Period Produced:1990-1999
This is a whimsical and lovely Fine Vintage Modern Ukraine Russian Expressionist Oil Painting on canvas, by esteemed USSR born Ukrainian – American Modernist painter, Pavel Tayber (1940 – 2017.) This artwork depicts an expressive and endearing scene of several children blowing bubbles, and wearing 1960’s – 1970’s fashion and eccentric hats, with one child wearing a masquerade mask over his face. The bubbles that the figures blow form colorful and mesmeric spheres of iridescent light. Tayber’s subject matter is known for both masks, and nostalgia for a time long past, and this artwork likely reflects a memory from his life in the Soviet Ukraine. Signed and dated: “P. Tayber ’99” in the lower right corner. Approximately 26 x 32 inches (including frame.) Actual artwork is approximately 22 x 28 inches. Very good condition for age, with moderate scuffing, edge wear, and gilding loss to the vintage gilded wood frame (please see photos.) Acquired from an affluent collection in Los Angeles County, California. Tayber’s original artworks are in the permanent collections of numerous museums, including the Kiev Museum of Russian Art, Kharkov Fine Art Museum, and the Sebastopol Fine Arts Museum, among many others. If you like what you see, I encourage you to make an Offer. Please check out my other listings for more wonderful and unique artworks! About the Artist: Pavel Tayber Born: 1940 Died: 2017Known for: Painting Pavel Tayber (Born 1940) is active/lives in Russian Federation, United States. Pavel Tayber is known for Painting. BIOGRAPHY Pavel Tayber was born in 1940 in Kharkov, Ukraine. He studied traditional classical painting at Kharkov Art College and received an MFA from the Ukrainian Academy of Fine Arts. A member of the Union of the Artists of the Ukraine, he became an Honored Artist of the Ukraine in 1992. Pavel Tayber has been included in Russian and Ukrainian art historical texts as an outstanding contemporary artist.Done in the rich hues, Tayber’s works depict both figures and landscapes. Smooth or textured painted in acrylic or oil Tayber’s pictures tell little novellas about men and nature. The style of his works depends on an emotional mood of each novella – sometimes it is naive, sometimes – symbolic or philosophical.Tayber’s work have been acquired by numerous museums, art galleries and individuals in the USA, Canada, Germany, Sweden, Israel, Great Britain, France, Spain, Russia and Ukraine.Since 1995 Pavel Tayber has been living and working in California. He had multiple exhibitions at the galleries of New York, San Francisco and Palo Alto.MUSEUMSKiev Museum of Russian ArtSebastopol Fine Arts MuseumUkrainian Museum of Art ExhibitsTyshler Memorial MuseumMoscow Museum of Art ExhibitionsObraztsov Puppet Theater MuseumKharkov Fine Art MuseumSukhomlinsky Memorial MuseumGorlovka Fine Arts MuseumSumy Fine Art MuseumEXHIBITIONS2001 Group Show “Poetic Imaginings”, Agora Gallery, New York, NY, USA2000 One Man Show, Gallery Europa, Palo Alto, California, USA Group Show, Gallery Europa, Palo Alto, California, USA1999 Gallery Europa, Palo Alto, California, USA1999 Agora Gallery, Soho New York, New York, USA1998 One Man Show, The Natalia Art Gallery, Sacramento, California, USA1997 One Man Show, The Virtual Gallery, Palo Alto, California, USA The Beach Street Gallery, San Francisco, California, USA1996 One Man Show, Palo Alto Gallery House, Palo Alto, California, USA “Art for ORT” Group Exhibition/Sale by Bay Area Artists, Palo Alto, California, USA The Virtual Gallery, Palo Alto, California, USA Kertesz Fine Arts Galleries, San Francisco, California, USA1995 Juried Exhibition, Gallery House, Palo Alto, California, USA Koret Gallery, Palo Alto, California, USA Palo Alto Medical Foundation, Palo Alto, California, USA1994 Group Show, Danville, California, USA1993 One man show, Kharkov Fine Arts Museum, Kharkov, Ukraine1992 Sun Bird Gallery, Los Altos, California, USA “Art on the Boardwalk”, Danville, California, USA “Kharkov in Berlin”, Rathauz Zehlendorf, Berlin, Germany “Art in the Shadow of Sickle & Hammer”, Art House, Munich, Germany Central House of Artists, Moscow, Russia Boris Binder Gallery, Malmo, Sweden1990 Kunst Modern Gallery, Berlin, Germany Boris Binder Gallery, Malmo, Sweden1989 Edward Nakhamkin Gallery, New York, USA1988 Kiev Artists’ Union, Kiev, Ukraine 1987 “Manesz Art Show”, Moscow, Russia “Group Show of Kharkov Artists”, Posnan, Poland1986 One man show, Kharkov Fine Arts Museum, Kharkov, Ukraine1982 One man show, All Union Theater Society, Moscow, Russia1972 “Manesz Art Show of Young Artists”, Moscow, Russia1963 “Best Students Diplomas Exhibition”, Kharkov, Ukraine “There’s a lot in the world, friend Horatio…” Published: August 13, 2020 By: Lyudmila Lukomskaya “I’m all sorts of fairy talesTellAnd what kind of masks do you wantI’ll bring you.”A. Blok. “In the corner of the sofa” The world meets the beginning of the third decade of the 21st century sitting in a strict, unprecedented quarantine. And just like in the times of the unforgettable Gogol, people in God-pleasing institutions, even without medicines, “recover like flies.” The statistics are either frightening or encouraging. Home routine and restless thoughts “get annoying”, you can escape from them only to the corner of the sofa with headphones and a laptop or in the old-fashioned way – with a book. It was in this “refuge” that I was reminded of a story in which I was an accomplice and which has to do with the real events of our time.My version of what happened is likely to provoke disagreement among rational people. To this I have only one answer: “There are many things in the world, friend Horatio, that our wise men never dreamed of…” Judge for yourself.For many years, the theme of theater has occupied the imagination of the artist Pavel Tayber. It began with stories about children’s games, and the quintessence of the game is theater: with dressing up, with puppet and circus performances, with carnival processions along the streets of the city outskirts. And although there was almost none of this in the post-war childhood of the author, the artist found an unlimited wealth of pictorial and narrative possibilities in the theme he chose – the works were funny, fantastic, touching, sometimes nostalgic.But in 2000, Tayber painted the film “Goodbye, XX Century”, where a string of his favorite characters moves against the background of burning giant candles, leaving the city that remains in the distance. “It seems that by parting with the century, the artist also parts with his retro-topia of childhood,” noted the art critic B.M. Bernstein. A new theme is coming to replace it – MASKS. Their appearance was perceived as an attribute of theatrical play, penetrating into a new theme from the one that had just been abandoned. And one could agree with this assumption, if it were not for one circumstance.In the summer of 2001, Pavel showed me several sketches for his new works. They surprised me unpleasantly. There was a sense of menace emanating from the masked figures depicted. It was not clear what the threat was.The ambiguity apparently stemmed from the fact that the plot did not contain the usual symbolism in such cases: flames, explosions, destruction, dead bodies, etc., but the inevitability of the impending disaster was clearly present. Not only did the masks hide the characters’ faces, but by definition, there was a sinister mystery behind them. The artist just shrugged his shoulders and hid the sketches in a folder. I was left with full confidence that I would never see them on canvas. But already in August there was a painting “Man with a Mask” in the studio, and on the easel the canvas “Man in a Black Mask” was started.Transferred to the canvas, they made an even darker impression than in the sketch.I was tormented by the question: how, where did these gloomy people in masks come to the paintings of Tayber, who for many years painted fantasies on the themes of carefree children’s games, picturesque courtyards of old Kharkov and landscapes of Koktebel? Who is this empty-eyed “someone” standing over an open watermelon, whose bloody redness has spread over his clothes, and the thin blade of a knife gleams dimly in the foreground? By this time, we had planned a trip to visit friends in Monterey, and I hoped that the encounter with my beloved ocean would distract Pavel and me from the sinister plots.A week later, we returned home, and a few days later, the world was shocked by the tragedy of September 11th.And although Tayber’s work did not predict a specific event, such as Salvador DalĂ’s civil war, these strange, dream-like images were unexpectedly explained.Comparing the events of September 11, 2001 and the images that arose in the artist’s imagination before these events, I came to the idea that behind the incomprehensible concept of “creative intuition” there are some metaphysical forces.Isn’t this what the French philosopher Maurice Merleau-Ponty had in mind when he attributes to the artist’s eye the ability to see the invisible background of a thing or event? Didn’t Pavel Tayber also have this rare ability?Aren’t these strange images, which sharpened his creative intuition, sent to the artist from some “parallel worlds”, “information fields” or “clouds”, as what in the last century was now attributed to “ordinary otherworldly forces”? The story of the artist’s intuition, embodied in his paintings, did not end there. I will not bore the reader with long explanations. I suggest you take a look at the photos of these paintings.Sounds familiar, isn’t it? It is not difficult for us to guess why these people are wearing masks.Yes, of course, they drink coffee and wine, kiss and admire the flowers, but how? After all, wearing a mask “neither to eat, nor to drink, nor to kiss”…Why did they wear it? The answer is known – Covid-19! The fact is that the mask has another function, in addition to “hiding the face for the purpose of camouflage”: the shaman, putting on the mask, acquires a supernatural power that can get rid of the disease. So we put on masks, counting on their ability to protect us from a deadly disease. Still, the mystery that accompanies the mask disturbs the consciousness: where did this misfortune come from, is there not an evil intent behind it? Will humanity survive?Of course, we will drop the masks. But will something of the period of their power remain in us: the ability to survive alone or the desire to open up to the world? Will this time make us angry or will it unite us and make us more confident? Time will show what exactly.The epilogue of this “poem of masks” can be read in Pavel’s work “After the Performance”. Masks of different shapes and colors – black, white, yellow – are abandoned and lie forgotten in the withering grass. The show is over! (Isn’t there a deciphering of the meanings of what is happening today in the title of the picture?) It seems certain that in these paintings the artist accurately describes today’s events. If it weren’t for one circumstance: the author of these paintings, Pavel Tiber, died three years before the pandemic.What do you say, friend Horatio? In memory of the artist Pavel Tayber (1940 – 2017) Pavel Tayber (1940-2017) was born, studied, became a master and earned recognition in Ukraine. In 1992, the government of independent Ukraine awarded Pavel Tayber the honorary title of Honored Artist, his name is included in the Encyclopedic Directory of Cultural Workers of Ukraine. Tiber’s works have been exhibited at many exhibitions, they are kept in private collections in Russia, Ukraine, the USA, Great Britain, Germany, Sweden, Israel, Canada, Spain, as well as in museums in Moscow, Kiev, Kharkov and other cities of Ukraine, Russia, USA: Pushkin State Museum of Fine Arts, Department of Private Collections, Moscow, Russia;National Art Museum of Ukraine, Kyiv;National Museum “Kyiv Art Gallery”, Kyiv, Ukraine;National Museum of Russian Art, Kyiv, Ukraine;Kharkov Art Museum, Kharkiv, Ukraine;Sevastopol Art Museum, Sevastopol, Ukraine;Sumy Art Museum, Sumy, Ukraine;Gorlovka Art Museum, Gorlovka, Ukraine;Puppet Museum of the Obraztsov Theatre, Moscow, Russia;Wizard Academy, Austin, Texas, USA; A. Tyshler Memorial Museum, Melitopol, Ukraine;Sukhomlinsky Memorial Museum, Pavlysh, Ukraine;Directorate of Art Exhibitions of the Union of Artists of Russia, Moscow;Directorate of Art Exhibitions of the Union of Artists of Ukraine, Kyiv. In 1995, Tayber moved to California, where he has lived for the past twenty-two years. He passed away in May 2017, and in February 2020, the artist would have turned 80 years old. On the occasion of his anniversary, we publish excerpts from the articles of the art theorist, Professor B.M. Bernstein, devoted to the analysis of the works of Pavel Tiber and covering the thirty-year period of his work. The materials were selected and kindly provided to the magazine by the artist’s widow Lyudmila Lukomska-Tayber.*** Boris Bernstein (excerpts from reviews) I. Childhood UniverseThe main thing that Tayber created in his homeland and what he became known for was a personalized, newly experienced world of childhood every time. But the psychoanalyst has nothing to do here. No complexes. In the context of the “Ukrainian Soviet art” of that time, it was an open declaration of independence, I won’t say heroic, but it required courage, evasion of cooperation with the authorities, which prescribed stylistics and demanded shameless and servile lies…The universe of childhood, as portrayed by Tayber, had little in common with the everyday “children’s genre”… Remembered and imagined at the same time, it was built around a few situations, which were entrusted to characters who were similar to each other, sometimes similar to the point of indistinguishability.Individual character, portraiture, psychologism – qualities are generally alien to this series of paintings, not because the artist does not know how to do it, but only because they are beyond the limits of his pictorial conception. In fact, one boy, round-faced and round-eyed, with a blush on his cheeks, wearing a paper cocked hat, remains the constant hero of the cycle.Childhood, as Tayber imagined it, is a world of imagination, which is most fully realized in play, and the quintessence of play is theater… Tayber’s entire children’s cycle is theatrical through and through, it’s a theater squared. The children “inside the picture” are constantly changing clothes, reincarnating, playing the theater, watching the theater, not knowing what we know, namely, that they themselves are actors, bibabo, marionettes in the theater of Pavel Tayber. Favorite actor for the role of a boy, the best doll from the collection, always charming in her expression, ideas, movements, in her thoughtfulness, sadness, dreams, in her unsolvedness.At that time, Pavel Tayber was no longer concerned about the monolithic style; It seems that the unity of principle was dearer to him than a homogeneous pictorial manner. The methods of applying paint changed not only from painting to painting, but competed, contrasting and complementing each other, within the same canvas.The rhythms of the colourful relief, fascinating in themselves, were included in the colouristic score, which, in essence, determined the overall meaning of the picture. The same boy, painted in a different manner and immersed in a different color environment, became another boy, living a life never seen before. The master disposed of his medium in a wide range, freely and confidently. II.CaliforniaIn 1995, the artist moved to California. The change of environment was difficult for him. Everything was different – different light, different colors, different sonority of color inexorably required a different kind of writing. Finally, and most importantly, the art of painting had a different history here, which here in America was actually lived and experienced, whereas there Tiber’s generation received only distorted and fragmentary information about it. This knowledge “from words” had to be made one’s own, a fact of one’s own spiritual biography, at least as a quasi-biography made by intellect and belated experience.The severe crisis caused by the move, however, turned into a powerful creative impulse. The creative energies liberated – or generated – by the psychological shock manifested themselves in an explosive change not only of stylistic forms, but also of a change of ideas, concepts, and principles of pictorial expression.Tiber has been very productive. Every year or two could be described as a new chapter in his creative biography… It was as if the plastic idea did not fit into one painting and required several free variants for its implementation – the “with the moon” series, the series with contoured female torsos, the “quixotic” series, the series of “blooming masks”… For each of them, a pictorial language or a combination of languages has been chosen—Tayber’s pictorial “bilinguals” and “trilinguals”—not arbitrarily chosen, but by virtue of the immutable inner necessity in which it has declared itself at a given moment. III. MasksMasks penetrated into Tayber’s painting as if inadvertently, secretly, barely perceptibly – as one of the attributes of theatrical play. Then the motif behaved aggressively and occupied the entire proscenium for a while. The usual function of the mask is to create a secret by concealing the face, whether it is the face of a beautiful lady or the face of a murderer. But the original purpose of the mask was different: the mask did not hide but transformed a person. By changing the form, it changed the essence: the shaman who put on the mask magically identified with the spirit dwelling in the mask and acquired supernatural power.The masks of the Greek theater brought the variety of faces to a common denominator of a universal type – a tragic or comic character as a world constant. In both cases, we are dealing with the power of appearance, which is capable of changing reality or elevating it to ideal principles. It was this property of the mask that the painter, a creator of appearances by profession and vocation, took advantage of.The paintings in this series are sentences without a subject: they consist of predicates, miserly complements, and even more stingy circumstances. He drinks coffee. Admiring a flower. He drinks wine. Kiss. Admiring a flowering branch. But his (or her) situation is absurd: wearing a mask makes it impossible not to drink wine or coffee, not to kiss, and most importantly, not to express yourself. You can’t live in a mask. That’s not to say that you feel comfortable in these one-scene micro-plays.This power of the mask contained the temptations of autonomy – and Tiber’s self-willed imagination was not slow to realize this possibility. The mask, like the nose of Major Kovalev or, better, the shadow from Andersen’s fairy tale, leaves the face and begins to live at its own risk: being the shadow of the face, its disembodied and neutral likeness, it successfully simulates his life.She stares at the moon or at the pear tree with the emptiness of her eye sockets, her open mouth once and for all tries to eat an apple. A branch threaded through the hole of the eye is perceived as torture. A mask lying (I would like to say on the back, but the mask has no back) on which dry leaves fall reminds us of dying.The epilogue of the “poem of masks” can be seen in the painting “After the Performance”. Here the masks finally returned to their purpose, this time already fulfilled, the performance is over, the inventory is abandoned, tongues of colorful flame surround it. If you like, you can imagine that it is an echo of the storms of the stage that have just resounded. IV. VanitasAnother series of paintings – from the mask that is in front of the face, to the faceless one that is “behind the face”. There’s no face there, there’s no face. The lineage of these Tayber paintings goes back to two noble ancestors.One of them is the late medieval “dances of death”, where an impudent skeleton performs deadly dances with people of all classes and positions – from the emperor and the pope to the last poor man; Death is the greatest of democrats, before it all are equal. Tiber’s playing skeleton appeared as if not seriously: in a historical carnival played by puppets. Death, dressed as an innocent shepherdess, reminds us of his presence in this inauthentic world… In another scene, the crowned death plays the violin in the very center of a universal dance of things and images.Another ancestor of this series of paintings is a special genre of still life, where, among the fruits of the earth and the creations of human hands, there is always a skull, reminiscent of the impermanence of all earthly things; Such a still life once received the Latin name “vanitas” – appearance, deception, “vanity”. Here Tiber follows the dramatic premise of the genre: the luxury and abundance of sensual life each time collide with a harsh reminder of the finiteness of earthly existence. But, as always in true painting, the meaning is greater than the plot. The motifs of the bright flowering of sensual life generally predominate. V. Fullness of Life… Especially interesting are the paintings where juicy pictorial still lifes are juxtaposed with graphically outlined female torsos. They are present here as a patron deity. Tayber refers our memories to countless female deities… and through them to the feminine generative and fruit-bearing principle, the source of life, flowering, and abundance. The flowers and fruits of the earth make up the brightest and most life-affirming side of Tiber’s painting. Tiber treats painting with absolute, one might say, classical seriousness. His paintings attract with the beauty, freedom and precision of high craftsmanship, confident painting skills. VI. Painting ProperAt the end of 2002, what was to be expected happened: Tayber painted a whole series of abstract paintings. Abstract brushstrokes, textures, color spots, reliefs have long been an essential component, albeit a subordinate part of his paintings, but they often broke free as prominences of his pictorial temperament. Now they have bided their time.This kind of painting has two names – abstract painting or non-objective painting. The artist seriously objects to calling his paintings non-objective, and he is right. What he does retains his dependence on the objective world. His shapes and colours are abstracted from reality, i.e. generalized to the limit possible and necessary for the artist in each case. Then one can literally see the ideas of things: not a road receding but a removal, not branches but branching, not plants but growth, not a melancholy clown, but melancholy itself. Fluttering, moving brushstrokes, coloristic consonances, magical polyphony of color make each of these paintings an aesthetic event. VII. Pictures with quotationsIt is hard not to recall the famous explanation given to postmodernism by Umberto Eco. He described the situation we found ourselves in very clearly.Imagine two intelligent people, a man and a woman. He wants to tell her a simple thing: “I love you madly.” But he knows that these words have been spoken and worn out many times; And she knows, and he knows she knows it…This knowledge is striking in its muteness to both of them, and it is necessary to explain oneself. The only way out is to repeat the same thing, ironically separating yourself from those who said it earlier: “As such and such a character would say by such and such a novelist, I love you madly…” A moment of playing with the boundless and filled memory of a culture is introduced into the explanation, but this does not mean that the feeling remains unexpressed.In a whole series of paintings, Tiber openly exposed the principle of “as I would say…”, introducing other people’s fragments into the painting, confronting them with each other, interspersing them with his own visions, collage inclusions, handwritten poems and thus creating new meanings. It’s a deliberate reorganization of figurative structures, a high game. In addition, the intricate use of texts that were not his own also met another condition of postmodernism, namely, the use of a double code, one esoteric for the initiated, and another, generally understandable for the rest.Friedrich Schlegel, with his understanding of irony as “beauty in the realm of the logical,” spoke of poetic creations imbued with the breath of irony, in which “the spirit of truly transcendental buffoonery lives.”Transcendental buffoonery, paradoxically transformed into visual images, plays in the paintings of this period. If, as Schlegel wrote, “all in all,” then it is possible to tear apart the crucifixion scene taken from Paolo Veronese and combine it with fragmentary images and symbols of our time to remind us of the sad recurrence of things “under the sun.” You can invite the Mona Lisa to a picturesque breakfast, you can think next to Rembrandt’s Versavia, which, taken out of context, freed from the captivity of the biblical situation, has received a different meaning here, becoming the true embodiment of sad reflection.These, as well as many other profound things, Tiber was able to pronounce in a series of “pictures with quotations”.In Tayber’s paintings, the intellectual principle paradoxically manifests itself through a spontaneous creative impulse. That is why, for all the diversity of the subjects, approaches, and stylistic features of his paintings, their unifying quality is a hidden autobiographism, cleansed of the factual, event-shell, or, if you like, a hidden confession. The fragments given in this article are taken from the Album “Pavel Tayber. Goodbye to the Twentieth Century”, Tallinn, 2003, and from the album “Pavel Tayber. California». Palo-Alto-Tallinn, 2004. Fragments about Tayber.Pavel Tayber was born, studied, became a master and earned recognition in Ukraine, in Kharkov. His works were exhibited at many exhibitions, personal and group – in the Soviet Union and abroad, they are kept in museums in Moscow, Kiev, Kharkov and other cities of Ukraine, in private collections in the USA, Germany, Sweden, Israel, Great Britain, France and other countries. In 1995, he moved to California. The change of environment was difficult for him. The severe crisis caused by the move, however, turned into a powerful creative impulse and eventually – and fortunately quickly – discovered new sources of energy.The monographic album, published in 2003, reflected – in condensation – some episodes of the Kharkov period of his work and the first five years of his life in the United States. (Pavel Tayber, Goodbye to the Twentieth Century, Palo Alto – Tallinn, 2003)But Tayber is very productive. Every year or two can be described as a new chapter in his biography. That’s the reason and purpose for publishing the new album.It has two focuses. I have taken the liberty of including here pages from the artist’s personal album of 1996 – a key, tragic and avalanche-generating one. The rest belongs to the beginning of the new millennium.Reproductions are preceded by a commentary that is intended to outline possible perspectives of meaning. Album of 1996.The artist himself either did not attach importance to this album, or considered it too intimate and therefore not subject to exhibition. Indeed, I understand that in those hours when watercolor strokes, pen drawings, handwritten poetic fragments and scraps of newspapers lay side by side on blank sheets and overlapping each other, he kept his diary – the diary not of a reporter, but of a painter, and therefore a diary of images without days. “The day was without number.” I quote this not because of contiguity, but deliberately: the “notes” were made at the moment of the most acute crisis, in the first months after the painter’s relocation from Kharkov, Ukraine, to California, USA; In essence, to another civilization. A psychologist, in cooperation with a sociologist, could make interesting observations, tracing the fate of artists transplanted from the Soviet and fresh post-Soviet soil to the unknown prairies of the American art world. But psychology is not our business. It’s just that time has passed, and the sheets where Pavel Tayber used to beat the borderline inner tensions have cooled down to become art.The first thing that attracts attention is the seductive juxtaposition of written texts and images. In recent decades, theorists have spent a great deal of effort trying to prove the affinity, if not the identity, between the image and the word. However, innate differences remain.The inscription exists as flat inscriptions on the plane of the sheet, the image eats this plane together, creating the illusion of a three-dimensional world. The painter knows this better than anyone else – and so, Pavel Tayber, playing with this contradiction, builds a whole range of relationships within the framework of the sheet. For the sake of maintaining a dialogue, his painting here operates mainly with silhouettes: the colored shadows of figures and things, sometimes translucent, sometimes swelling with colorful matter, hint at the possibility of volumes, while the inscriptions against the background of colored space seem to have soared above the plane. In this polyphony of manuscript and painting, the pen drawing is included – an intermediary, a common relative, as much writing as a picture. The written word is abstract, as opposed to a sensual pictorial image; The drawing abstracts from the color and abstracts the form with a line, but is still like a subject, which is why it is in the middle. In order for us to appreciate these complex and fragile harmonies, the artist sometimes introduces borderline elements into the composition of the sheet – quite two-dimensional scraps of newspaper or an illusory photograph; By their mutual foreignness, they make us feel between what and what the delicate drama of plane and space is playing out.The words inscribed in the drawings-pictures of the album are taken from the great Russian poets: Brodsky, Mandelstam, Pasternak. Only one of the poems is inscribed in the composition in full, the rest are fragments, two or four lines, half a line… The choice of the poem quoted in its entirety is transparently clear; it intersects with Tiber’s own biographical circumstances.You’ll go back to your homeland. Well,Look around, who else needs you,Who will you be friends with now?When you come back, buy yourself some weak wine for your supper,Look out of the window and think a little:Everything is yours, your fault alone.The background on which the poems are written is almost flat, with picturesque patches of fantastic colors – almost wallpaper; In the middle of the sheet, the plane is cut by a rectangular frame, behind which the distance opens; Either a picture on the wall, or a window. Most likely, it is a window: it is placed between the lines “some weak wine” and “look out the window…”, only outside the window are recognizable Californian hills. However, no motif here should be interpreted in a straightforward way, the hills can be Ukrainian, and the framed rectangle is more correctly called a “picture/window”, the exit of memory from a confined space into the third dimension. If you want, you can find the key on another sheet of the album, where it says:”A foreign land is as akin to thefatherland, As a dead end is a neighbor of space.”But there is no cul-de-sac, no space, only large silhouettes of tulips, small silhouettes of palm trees and wide wavy stripes crossing them; On the other hand, there are many other poetic passages that beg to be read. This reading does not require any special erudition, you have the right not to remember where the lines are taken from, on the contrary, the fragment unexpectedly turns out to be complete, self-contained and self-sufficient, and therefore able to enter as an independent motif into the polyphony of the new whole. Some texts are subjected to simple transformations: the same lines, repeated twice, three times on the same sheet, like an echo, seem to forget about their origin and remain a pure sign of the state of mind.”When the burden of the eveningsfell on the hard beds, And overflowing the banks,The hawk-moth trees rustled.”Here, on the other side of the dark, blurred silhouettes of palm trees, key words are written out in monotonous verticals, echoing in the artist’s soul with an inexorable, endless echo.burden,burden,burden… the burden of the evenings, the burden of the evenings, the burden ofthe evenings… evenings,evenings, evenings,evenings…In addition to the dark palm trees, this leaf depicts Pegasus with his wings spread wide. As we can see, the relationship between poetic fragments and drawings is extremely fragile and ambiguous. One can look for direct or coded connections, but it is better to trust the bizarre illogic of textual and figurative meanings, their unexpected associative convergences and hopeless divergences, leaving their strange harmonies and their tragic understatement without definitive interpretations. It’s much more interesting this way.*«… “For those who are the darlings of heaven,” wrote an ancient thinker, “the greatest sorrows are transformed into equally great blessings.” (G. Bruno, On Heroic Enthusiasm, Part 1, Dialogue 1, History of Aesthetics, vol. 1, 576.) With the love of heaven, not everything is clear, but their participation can be suspected: the transformation has taken place, the experience is no more, the aesthetic trace of the experience, the art, remains.
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