Trokh took many and powerful shots – regardless of the amount of money for film and the quality of what was drunk. It was believed – if a photo camera fell from the hands of a drunk cheerful Kolya, rolled, bounced, hit the shutter – a brilliant shot would still come out. However, it never fell in my presence. Trokh was the photo chronicler of the 90s, an era of lawlessness and shamelessness, an era when there was no need and no one to pretend to, when everyone was turned inside out like a glove – all guts outside, and many of us then learned a lot about ourselves – this I can do, and I will go for this. And Trokh captured every moment of these mutations with his camera so that even years later, as in a magic mirror, what is now hypocritically hidden under a sticky layer of gloss would appear.
Trokh is a gentle, sentimental, and even sometimes shy person, but despite all these qualities, he also has “enemies.” Like any artist marked by the seal of genius, Trokh is a “boa constrictor.” He is a hypnotist to whom women submit, relaxing in the photographic theater to forever remain in his elegant glossy masterpieces. His aesthetics have something of Joel-Peter Witkin and Jan Saudek. He is close to the spirit of Helmut Newton, the toughness of the Japanese Araki. Trokh deeply penetrated the existing tradition of playful photography and remained himself, unique and unrepeatable.
Comment type: Published comment
Author: Ihor Nikolaienko
Bibliography:
Counter-mimicry of N. Trokh II. Interview with Ihor Nikolaienko [Electronic resource] // Pro Story. – 2008. – Access mode to the resource: http://www.prostory.net.ua/ua/art/8-2008-02-18.
