Oleg Dimov biography

Oleg Dimov: “Working with integrity, we gradually come to the image” on January 17, the partner of the gallery became Shcherbenko Art Center, because the author in the year became the owner of a special flying award. And now the exposition includes Dimov’s works dated years, and there is an occasion to continue the conversation. Oleg Dimov creates photos in a conceptual and minimalist genre.

His works are stored in the collections of the Odessa National Art Museum, the Museum of Modern Art of Odessa, private collections in Ukraine, Germany, and France. The correct understanding of the processes of continuity is of particular importance for the analysis of the laws of art, social development, the progress of science, for the struggle both with an uncritical attitude to the achievements of the past and with the nihilistic denial of cultural heritage.

Continuity is a connection between phenomena in the process of development, when the new, replacing the old, retains some of its elements. This sequence is clearly visible in the author’s works. These elements combine the entire period of searching for the artist. The mentioned continuity in this case is concentrated, closing in self -completenance, in self -succession, ”says the curator of the exhibition Natalie Simonova.

He is a kind of attempt to legitimize different periods of self -exquisite. This project is about freedom, in a fit of which you consciously, but more often intuitively, you still return to yourself. This helps to identify his face, which is very important in artistic practice, ”Oleg Dimov writes, after the opening of the project on his Facebook page, promising to conduct an author’s excursion, which was visited by Maria Gudyma, and then prepared a number of theses voiced by the artist.

The first option lasted no more than thirty seconds and captured an absolutely static wall against the background of dynamically fluttering foliage. Today we are observing the second version of this work. More meditative. When re -shooting that the artist Dmitry Tarasenko helped me, the wind was almost faded, and naked branches emphasized especially graphically and intuitively repeat photos from the previous halls.

Thanks to Natali Simonova for perseverance in the presentation, in fact, my first official video work. It was always something new for me, and I try to share some new thoughts on each new tour. The name of the exhibition translated “Repeat”, it is dedicated to the self -resident, but at the same time raises issues of freedom and limitations. What will we take from here, whether we can later think about our freedom, whether we can decide something with our limitations, whether we can restrain ourselves in the UP somewhere.

In the last period, I often reflect on whether I can increase the bar on every new project. Any of our activities, any cut of reviews about our activity always has three development options: either you lower the bar, either remain in place, or increase the level of your achievements. A creative person often needs to be on top, interest his audience with something new, or substantial, or bright.

Today, the exposition resembles a retrospective.

But this is not so. I am not yet at that age and not in the status to allow myself to make retrospective exhibitions. I wanted to legalize different periods of searches and see in this difference some common nuances. Natalya Simonova and Anna Chubar ... On the influence of teachers and predecessors-often the author uses some techniques that have already taken place in art.

Today, it seems to me that there was already anything. I know a number of artists on whom I rely, this is Rene Magritte with the painting “Invention of Life” or “Lovers”, this is Man Ray, who wrapped a sewing machine. Or Christ Yavashev, who began to pack the trees, and then at home. There are a lot of examples when the authors work with similar techniques, but the main thing is different - what is the idea of ​​your message?

In general, a series with drapery, in fact, was born thanks to Alexander Roitburd. I remember the day when I showed him a portfolio. Then he did not note anything, but after a few days I took the first picture of the object covered with fabric, and he wrote: “Like”, after which he fedly directed me in the process of development of the first series in this style, voicing a number of key recommendations.

I consider it my main mentor Sergei Belik, with whom we implemented more than one project and to which I have special gratitude. And Roitburd and Gusev, I think, are teachers for many of my artists and not only generations. Being with us in the same temporary field, they involuntarily formed us. In general, authors of this scale form not only artists, but also curators, art critics.

More than once I heard the opinions of famous gallerists who thanked our famous masters for decades there are an opportunity to develop next to such artists. This is a very big contribution. Because for some of my searches I was fond of abstract art. From abstract art, I took laconicism. And this laconicism began to partially dictate some meaning dedicated to loneliness, solitude, disunity.When I began to shoot these tissue compositions, they pulled the topic of isolation in the literal sense of the word.

One of the portraitors I had on the couch in a rather pathos pose, laying my leg on the leg, almost putting his hand on the back, absolutely imposingly. I saw in this a certain degree of irony, because the ceremonial portraits were ordered so that the artist portrayed the model in all its glory, surrounded by wealth and so on. My “ceremonial portrait” is an apotheosis of isolation, an apotheosis of disunity, and in this case the posing will represent himself in this way: “I am like this today, and I am comfortable in my inner world.” For example, I have many photos with asphalt, which I shot during walks.

This is all the same minimalistic motive. He is devoid of excessive literature. When I studied, they constantly told us that our work should not be fractional, on the contrary, they should be whole. Working with integrity, we gradually come to the image. It seems to me that the image is one of the important components of art. I repeat that my attachment to minimalism was formed because of the love of abstract art, which was engaged in my first teacher Sergei Paprotsky.

I came to him 20 years ago to learn painting and enter OHU. You need to read at least a little or get acquainted with the artist. Acquaintance with the author is very important for me. For example, once I did not understand pop art Andy Warhol. His works seemed artificial to me. And only through what this direction was for Warhol himself, I began to understand his work.

It turned out that his pop art is not only a replicated portrait of Merilin Monroe, not only Coca-Cola, the identical taste of which a person of any status can try. This is also a fashion, for example, for certain hairstyles in women, on a certain style of clothing for which it was necessary to lose weight. I realized that pop art Andy is a living phenomenon that absorbed the most important and bright in the fifties and sixties.

It is a pity if people at first seem unclear. Therefore, I try now to often go to Invogue Art. At least half an hour, drink coffee and chat with randomly met guests. I have a wonderful friend, artist Irina Ozarinskaya. She once said that the exhibition needs to be worked out. After all, many people believe that the work is completed with the opening of the exhibition.

No, the work is just beginning. I'm trying to be here to voice something a little.