What is the concept of the project itself. The whole point is that, as is known, our folk culture, both Russian and Ukrainian, since 1917 with the advent of socialist power, has been subjected to destruction and repression. This concerns both Christianity and folk shamanism. The extermination and persecution occurred, as is known, because of the non-compliance of believers or shamans with the contemporary regime at that time and, of course, the fear of people who placed the ideals of the otherworldly above revolutionary ideals.
Without separating faith and practices as a kind of disobedience and search for spirituality, the chosen ones understood that one is eternal – the other temporary. And this temporary tried for 70 years to eradicate universal concepts of peace and love, imposing the ideals of a pseudo-new world order. The most paradoxical thing is that trying to build a new world, they tried to build a new eternity, replacing the old one, while destroying everything in their path. History, alas, is full of examples of recklessness, madness, and greed, strangely enough, both on the social level and in religious and esoteric internecine conflicts, but the light of true love and goodness always shines on those who are closer to them.
“This project is built on the principle of joint creativity of materials and meanings where the meaning of the material is dictated by the meaning of human nature. If we talk about the trinity, and this project presents itself as such, with objects, painting, and accompanying texts, one might think that it is a self-enclosed and self-sufficient structure, but this is not so. The objectivity of the triad, represented in the objects, manifesting its three-dimensionality, is the main link in combination with other statements. 3D objectivity is the coefficient of reality of some environment surrounding us or surrounded by us. The objectivity of space is simultaneously meaningful and empty, as the “power of this world” asserts, so its three-dimensionality is as unclear as its objectivity. In this regard, the objects presented in the triad are obvious – to explain what is inexplicable, namely the formlessness of emptiness. Next comes painting – the second link of the triad filled with plane and conditioned by 2D objectivity, where style and meaning determine the fullness of this part of reality with emptiness. The superficiality of the surface tunes the viewer to the background, leading him behind the scenes of the overall picture and introducing him to a new dimension where the objectivity of the object takes on the meaning of some stage immersion in the image of an actor on stage. Next follows the text-description. This item is considered as some infinite objectivity – 1D, where meaning is sacred from 0. In this case, 0 is the meaning of the sacred presence of emptiness or purity in this triad. The infinity of the path from 0 to 1 is a chain of “reasonings-rebirths” of meanings in the general scenario of what is happening. 0 is the viewer reset, encompassing with his consciousness all the stagedness and closedness of the process, ultimately receiving his 6D – bringing the triad to the level of 3+2+1=6D objectivity. This level is the esoteric postmodern where the new level of understanding reality is sacred irony inserted into the social context.”
It should also be noted that alongside the viewer there is always some other field – a field of awareness located above the object of contemplation – consideration, endowing all this with action. I did not misspeak, precisely action. If you look more closely at the process itself, it becomes clear that the interaction of the triad with each other creates action on the stage unfolding before the viewer. Stage-ness is static and silent, but interactive and thought-formed. Its main feature is that considering everything as a whole, as some object of contemplation, one can penetrate into another field, some “White Spirit,” also clear or white or pure, also the conscious spirit of the eternal striving of art to be different with others. The main feature of the “White Spirit” is that its mental field, being in zones of influence on viewers, has the property of as if washing away or dissolving the entire conceptual zone of our mentality, leaving only the ability to see and listen. The thing is that the washing away process has always existed; it is a kind of removal of the veil or some protection, and the further into sophistication, the less sacred the perception. This is how our psyche – our spirit – is arranged, and the deeper into the forest, the thicker the trees, which, as one of the Daoist parables says, the wind can break, and the thin ones only bend. Yes, yes, it is precisely about the elasticity of perception, about its washed-away state where behind it is a clean sheet of emptiness. That gap that usually exists when perceiving any works of art in this context disappears, replaced by internal resonance, by internal communication. This concept somewhat contradicts art criticism, where everything is subject to study – discussion in connection with various disagreements or with concepts of this or that socio-philosophical level of being. Does it put into question – “Is it even necessary to discuss and layer additional levels of meaning on what is already expressed if everything is already ready?” Well, this is generally what I would like to share with those who are open to perceiving pure consciousness, having come out of the shackles of indifference and conceptual meaning-making.Comment type: Published comment
Author: Dmytro Dulfan
