Ink and marker on paper.
42 x 59,4 cm.
Accompanied by a certificate of authenticity.
As an object of his research, the artist Sergey Lotsmanov takes the problematic of observation experience. Talking about his works, one should make a demarcation line between the view and observation, they are differentiated according to the following scheme: according to Lotsmanov, the view can implement communication without language (like the view of devices and wild animals, for example, or maybe even the view of the far galaxies), while observation is closely connected to the language, language and observation stay in ambivalent connection, the subject realises reflection through the language, thus the view becomes textual, and subjectivity is actualised in the mode “here” and “there”. This mode itself is nothing else than a specific object or space where instead of time appears the consciousness.
Digital civilisation is convulsively racing for technologies, function of which (unlike the one of the sciences) lies in total control. On the contrary, Lotsmanov immerses the spectator in his inner world - but what kind of world is this? Let us give the word to the artist himself: “When I say ‘my inner world’, I try to draw attention to two things, ‘my’ and ‘inner’: ‘my’ implies the presence of ‘I’, but in the ‘inner’ world there can be no ‘I’, because ‘I’ is affected by the language, and ‘my’ - is only a mode of observation (point of coordinates) beyond the limits of the inner world, in which, as you may already have understood, there will always blow a blue wind of absence of the language”.
Indeed, if one looks at the works by Lotsmanov (most of which are made in the familiar medium of drawing and painting), then instead of initial skepticism one may see the message encoded by author in his lapidary style. This experienced draftsman quite often makes very precise statements in his colourful drawings, and trying to understand them, one may reach the feeling of infinite emptiness somewhere inside oneself, and it’s not a banal experience of frustration: the very observation is deconstructed here, and only the artist’s imagination is able to draw the spectator from the surface of digitalised world, thus leaving one in the desert where it would be impossible to find a single grain of information, but only experience the deep thirst for knowledge.
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