The work uses a minimalist way of presentation, which refers to the minimalists of the 20th century, and especially to the Rothko Chapel. In fact, oversaturation helped me choose a minimalist language - the inability to look at paintings in those few rooms where the permanent collection is still on display. Compared to the scale of minimalist work, the earlier paintings and sculptures look incredibly tiny and insignificant, like postcards, and the halls take on the awkward, crowded, culturally irrelevant appearance of many antique stores. While studying at the workshop of monumental art and temple culture, I decided to turn to Western tradition and rethink the space of the Catholic Church as a Western European analogue of the Orthodox iconostasis and give it a new role in a modern context.
The main idea of the first part of the project is to analyze the role of fear and pain through introspection. Fear as a pointless phenomenon hangs in the air and makes you look for reasons. He shatters the familiar structure of life, looks for folds and breaks in it in order to awaken a conflict with life itself. Given the role of the iconostasis and altar in the modern context, I decided to elevate the metaphysical image of pain and place it in the place originally intended for religious images. As far as I understand, the image of pain and fear is an unwillingness to be content with an imaginary peace of mind. "Robot addiction" as the only way out in the modern world. Acting constantly, submitting to the fruits of our labor, we ourselves become an appendage to them (objects) and involuntarily avoid meeting ourselves, as there is a feeling of emptiness. Pain in this case saves, relieving this feeling. So it becomes chronic.
This is an iconostasis of inanimate, industrial color, the texture of which resembles a tombstone or an old concrete wall, in which the main role is played by compositionally built examples of engineering calculations, inside which there are pulsating forms (a formal image of pain and fear).
