Chelushkin Kirill

The language of art grows with edges, is renewed by the germination of sown marginalia. Chelushkin's proto-novel bases the anthropological, technocratic, and corporeal using memorable optics. Such an optical tuning system brings sharpness to the most decanonized and therefore free images, motifs and mise-en-scenes, replenishing the world of the author's depository. The poetics of non–recognition changes the inertia of our gaze, knocks down value polarization, and cancels the hierarchy of meaningful-accidental. To sharpen an object that the draftsman needs means to master the mechanism of the viewer's attention, such a function in the film process is performed by a focus puller, or magician. Based on the point at which the focus was focused and mentally finding the source of focus, we discover the artist's position. The intentionality of such a search sets the direction of the unpainted painting, pushes towards unrecognized spaces behind the white fields of existing drawings, which turned out to be accessible to the viewer and therefore were designated the main objects of attention. But they are also marginal in relation to the invisible meaning lying in the blind spot. Kirill Chelushkin is so consistently and reliably building up the map of our world at the edges that its center is already noticeably shifting.

Anton Ouspensky