The elite is vulnerable. 

The most perfect individuals belong to it. Happy few is a result of selection, compared to which natural selection with its concept « it is the strongest, who survives» seems to be the triumph of love for one' s neighbor. The most viable and useful individuals become the standard of a new breed. The rest are destined to destruction. The fate's darlings will be considered as a unique standard according to which they and suchlike will be reproduced to give fowl, eggs and down. The perfect ones will go for broth, omelette and down-padded coats.

The powerful nature and grotesque protrude in these gala photo- portraits. The fascinating and handsome highbred roosters are gazing at us with superiority like the characters of Richard Avedon. They have tough temper. You'd better not quarrel with them, as chicken is believed to be one of the cruelest birds and one of the funniest in its arrogance and conceit. Really, the dominating males depicted in the photos are comical like noblemen in the portraits created in icon painting traditions of the times before Peter the Great. Extraordinary fluffy snow-white feathering, foppish tousled crest, stick out breast, haughtily turned-up beak make them look like bosses, who are in charge of everything.

Their astral CVs immortalized in marble speak in the language of secret signs and symbols about futility of ambitions and bankrupt vanity fair. Heroics of everybody's war against everybody remains on the pages of historic researches. Tyrants, national leaders and other geniuses of narcissism are depersonalized by the system of common benefit and mutual guarantees. 

Long ago power seemed as disgusting as barber's hands. Nowadays it is amusing as an e x ecutive director of a meat-procession factory. Today it can be bred for commercial purposes. What you need is to try a number of unexpected genetic combinations and this bio-art will produce a new object for animal painters. 

Stanislav Savitsky

TEMPERA. 2014 - 2018.

Exploring the boundaries between the invisible image and form, text and image, dark areas of memory and consciousness, I create paradoxical personal spaces where I emphasize the areas of social and psychological crash and transformation. I may say I’m interested in the border between the medial and presence, where the meaning is not the same as the signified.

The things that I highlight in the temporal flow of present cannot be displayed by simple visual aids. I’m most interested in poetics of random connections and paradoxical spaces.

Rethinking aspects of interaction between the environment and the time, we see the physical space as the tip of the iceberg, woven of real and fictional dimensions. Mysterious and elusive landscape of the unconscious is only a conditional map, exploring which is a dangerous adventure.

Alexander Morozov