Pavel Otdelnov was once born in 1979 in Dzerzhinsk (Nizhny Novgorod area, Russia). Member of Moscow Union of artists since 2006.
“Some of the questions that I’m all in favour of is find out how to snatch the existing. Contemporaneity is an assemblage this is constructed from the fragments of the previous, it seems that best publish factum. The picture of the previous can also be simply reconstructed thru items and magnificence of that length. Against this, the existing has no symbol. It’s slipping clear of detection through hiding in the back of triviality of the mundane, and thus turns into indecipherable. I see the chance to seize the existing through taking a look at it within the mode of a time-lapse images methodology. I imagine that through slowing down a gaze, I may just pronounce the motion of the truth this is subtly unfolding in entrance of our eyes, akin to the development of highways and buying groceries shops, the erection of towns, and the semblance of latest mild assets that navigate an city dweller in a megapolis.
I see the static high quality of portray as some other alternative to decelerate a gaze and expose a slice of shifting time. Portray encapsulates time through collecting layers of paint, and consequently it stimulates contemplation and decelerates a viewer’s glance. My very own gaze at the on a regular basis is the most important supply of mirrored image for me. For instance, I may just catch a picture of the on a regular basis within the mirrored image of a room’s internal in a window glass. Any other supply to peer the on a regular basis is thru a mechanical point of view of technological units akin to a photograph digicam or Google maps panoramas. The point of view of the era issues to the subjectivity of a gaze and questions a place of a viewer in the case of my portray or set up. In my paintings I suggest the presence of other people, then again I by no means depict a human symbol. Actually, going through my portray audience see their absence.”
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