“Infa” by Igor Konovalov
“Infa” comes from the word “information”.
Everlasting come-back of painting.
Igor Konovalov considers painting to be a tool, allowing to reveal the complexity of the surrounding space to an eye of a modern person. Only the painting which originates from the time extent and demanding emotional concentration is capable to show processes invisible for an eye of a contemporary and to detain his attention. Nervously blinking from an accumulation of pixels a man of the ХХІ century loses sharpness of visual perception, which is necessary for comprehension of timeless laws. Spiritual «state» of a modern person cannot be compared to the level of perception of the world by our ancestors. However, even for them the iconography– the paintings explaining fullness of space by divine emanations- became necessary.
The modern vital environment has cardinally changed its structure lately. Universals of the bygone world and the total-metaphysical purposes directed to the future have definitively collapsed. The halogen-sliding world more and more shrouds the emotionally-physical one. Instead of fluids (thin mental energy) infatones (information particles) had spread around; instead of telepathy come mobile phones and Internet, instead of Angels come telemonsters. Infatones appearing in the images of fragile hares, capable of corrodins all steady positions, form our general infa-sphere. Fruitful and mobile, they indefatigably and imperceptibly introduce us into a condition material-existential trance. The true freedom of choice was replaced by a freedom of a luminescence of the blue screen without shades.
Only painting which comes as a result of not-controlled mental impulses multiplied by accumulation of time can show invisible life of «infa» in our reality. Not multimedia photos, video-animation, but only painting is capable of interrupting the habitual short sight of reading technical images of duplicated production, filling the loss of secret depths. «Photo, unlike painting, is not an image of a live reality, but only a performance of its dead signs. It is a screen which is presenting itself as a picture. The true reality can be reached only in painting, which comes from hidden and not supervised from the outside work of memoirs» (B.Grojs).
Attempt to disguise the dead semiotic world in picturesque comments will force a person to revive his eyes, and to return the sensuality which is coming from our general source – harmonies.
O.Konovalova, Candidate of Art