07.01.05 - 23.02.05

Vladimir Kuprijanov | Faith, Love, Hope

    

Translated from Russian into German by Christine Roth, Translated into English by Constanze Korb

The series "Faith, Love, Hope" deals with the subject of identification, with the meditation about the question who we are and why we are here. Vladimir Kuprijanov took the panorama landscapes from Central Russia in the summer of 2004, in the Jaroslaw and Tulaer region. The technology of the digital photograph allowed him to catch specific details from the Russian nature and concretely chosen landscapes. In these photographs, every bur, every panache of the mugwort and every yellow, violet or orange cemetery flower fallen from the sky have a sense. The artist gives a special symbolism to the fragments of the village cimetery. For Kuprijanov, it is just here that today's observations are made: He is, indeed, provocative, but not aggressive and absolutely naive, reminding the observer of the classic literature from the 19th Century. The base of the series "Victoria " consists of a worked variation of photographs from a family archive. Strictly speaking, we do not see much more than these basic photographs; there are no "violent" interventions in these works. They are composed in a manner that all "interventions", all tension, the whole artificial richness are practically brought to a termination by the laws of optic - and this is possibly the most surprising thing of the series "Victoria". The precision of the metamorphosis, which is accompagnied by colour photographs, is impressive. Through a minimal intervention (film with a hardly transparent black and white print over the basic image), the colour image becomes richer and the colours become more luscious and apparently hand made. All this is achieved through the act, that colours and chiaroscuro of the basic image are corrected by the use of a semi-transparent replique (however black and white, and not in colours). By the bulky but simple construction, consistsing of a mirror and a aggrandised photograph, the mirror does not only reflect the banal flat photography, but the same picture, provided with a depth and a space of unknown origin. It is certainly not exagerated to ascribe partially the artificial aspect of these works right to the impression created by the surmounted nature of photography. The complicated games which play these works with the attention of the viewer deviate the observer obviously from the sensation of strangeness, immanent in these pictures. And while the observer's attention is deviated, he is able to construct an association with this or another work, being recompensed by the feeling of a direct encounter with the illustrated moment.

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