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— 8350, Moscow, August 2012.

About the author.

Since 1997 8350 had been an active trainwriter being a member of such well-known crews as FU and KGM. After a decade of doing graffiti he approached a stage of perceiving namewriting as a rudimentary and senseless practice. Due to this comprehension he logically switched to abstract geometrical fonts and through them — to plastic abstract shapes purified of various associative intentions, isolated from any kinds of meanings — as the author states.

This sensual search gradually transferred the artist to the Russian street-art scene and brought to critical perception of graffiti as a social statement. As a result the author practiced active buffing for some time and moreover — preventive struggle with guerrilla advertising. The author considers these practices to be the first socially comprehended artistic actions which became transitional to his further development.

According to 8350 this work puts a full stop after a 15-year activity period and transfers him to fully-comprehended theoretically-based practices and new experimental media “which is lacked by the street-art nowadays”.

Text by Natalia Serkova.

About the work.

By this work — trying to express and objectify a personal dialectical search for a subject of art– the author sets a difficult problem. On one hand there appears a homogeneous abstract shape only working with sense perception, on the other — we can observe an attempt of unique symbol creation not only referring to personal experience but mostly extrapolating this very experience to the collective unconscious.

As any abstract shape the work is aimed at extremely distant perception levels. Setting some zero point of the spectator’s implication — what power of the transmitting impulse can be designated in this case (certainly, very subjective)? We face a plastic dynamic structure as if establishing its legitimacy of existence by its homogeneous mass. This legitimacy is based on the today’s environment context: hysterically fragmentized messing around of surrounding visuality makes us stop not only perceiving a whole self-sufficient shape, but generating similar. Any generalization, any attempt to structuralize produced forms is if not a conscious action — at least a promise to try finding the sense.

Considering some conditional extremum of work’s symbolic field’s comprehension, can we accept an attempt to create a new symbolic system? Some stated narrative illustrative features in this case don’t distract from a possibility of the work’s perception as a single symbol which means not only a transition from one creative phase to another, but existence in the same communicative stream. This logically involves attempts to exit. In this case the plastic shapes on the sides of the circle can signify the searches for transcendental. The same time they can be considered attempts of the sign/author/circle to throw in its generations into the unalterable environment. From any of these and many intermediate work’s perception points (according to Hegel’s idea of art’s specific place in the world soul’s development) we can admit a possibility of its direct namely transcendental potency.

Text by Natalia Serkova.

— The layer was created with support from Standart Distribution.