OBJECTS. 2016

'FOREIGN LANDS' PROJECT

We are witnessing tremendous socio-cultural changes in the world today. The earth has begun to move. The geography of the earth is changing. Huge masses of people are changing their dwelling places. Leaving one land for another. How does a person experience and separate ours and theirs – what is the difference? At what point does the foreign become native, and vice versa? Hence land becomes a form of instability. An object of political manipulations. It is a place for violent conflicts. It is a substance that changes itself and changes people. But what is the human contribution to the history and fate of the land, and when does the question whose is it arise? And is this question so important? When people don't ask themselves these questions, the land turns into an abstract concept. Foreign lands evoke a rather complex set of emotions. And rather contradictory. That's why I tried to make these works – you could call them abstract, but you could call it hyperrealism. This is what led to a mix of drawing and sculpture that can't be precisely defined. Regarding the characters. The drawings are an attempt to introduce a broader connotation of foreign lands – the characters from the cult film Aliens or fragments of shots from travels to foreign lands. Life in the earth or even under the earth, when man becomes a part of it.

Kirill Chelushkin

GRAPHICS. 2011–2023

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