"Новая форма изобразительного искусства была рождена без напыщенности и шумной рекламы. Некоторые из нас наивно полагают, что компьютерное и 3d искусство – это что-то механическое и не натуральное, нечто, лишенное человеческого прикосновения. Подобное представление ошибочно, так как не компьютеры делают искусство, а люди, которые используют их. Компьютеры – это обыкновенные созидательные инструменты, только изощреннее; попробовав их один раз, ты уже не сможешь остановиться" Джордж Грие.                                                                                            
      Коллажи Игоря Вечерского строятся на контрасте фотоматериала и цифровой среды, которая превращает этот материал в образы, населяющие мир художника. Его работы носят явный неоромантический характер, они апеллируют к мифу в контексте присущего романтизму противопоставления и одновременно единения человека и безличной стихии.                                                                                                                      
      Константой этих работ становится тема обнажения человеческого тела, символизирующая одиночество человека и, более того, некий экзистенциальный холод. Такое впечатление производит и колорит, холодный и сдержанный, местами практически лишенный цветовой насыщенности.                                                                                                                                                                                                                        
      Авторская идентификация тематики и содержания серий сосредотачивается вокруг идеи становления, и тема одиночества оборачивается авторефлексией. В каждом случае персонификацией авторской идеи выступает женщина, юная девушка, чей идеализированный образ еще раз подчеркивает романтическую трактовку выбранных сюжетов. Женский образ становится основой композиции. Женщина – это тайна природы, символ созидательного начала и гармонии. Художника интересует противоречивая сущность женщины.                                                                              
      Основная тема развивается от погружения в себя человека, выжившего в кораблекрушении и оказавшегося на необитаемом острове посреди океана (серия «Desert island») к более драматическим сюжетам падения ангела, его погружения в преисподнюю (серия «Angel») и превращения в демона. Демоническая составляющая идеи становления, страх перед непредстказуемостью развития, который известен в европейской культуре с античных времен, связыввается здесь с процессом взросления, необходимостью и ограниченностью выбора, неизбежными сожалениями взрослеющей души, ностальгией по невинности.                                                                                                                                                                    
      Другие грани этого образа выявляются в работах, посвященных мифологии женского естества, разным проявлениям сущности женщины (серия Myths). Отсылка к мифологическим существам позволяет автору представить ключевые черты женского характера, вечно становящегося, непредсказуемого, через архетипические образы сказочных персонажей. Образ из сказки, который понятен каждому и именно поэтому является архетипом, не только персонифицирует какое-то качество характера, но и отсылает к тем доисторическим временам, когда человек не отделял себя от мира, ощущал себя частью всего живого.                                                                                                                                                                            
      Тема единства человека с природой, целостного восприятия мира раскрывается в серии «Unity». Конрастное раскрытие эта тема получает в серии «Apocalypse», где вероятное будущее человека прогнозируется как все более тесное сращивание с машиной. В сопоставлении эти серии могут рассматриваться как идиллическое прошлое и апокалиптическое будущее человечества. В последнем женщина выступает в образе робота-разрушителя, божественная красота женского тела противопоставляется нечеловеческой, бесчеловечной сущности.                                                            
      Интересы Игоря Вечерского показательны для современной ситуации глобализации процессов культурной идентификации, когда в сознании художника сливаются истории и культуры стран и континентов. Из них образуется сплав, который держится именно на архетипических представлениях и образах, без долгих объяснений понятным большинству людей. Творчество художника нельзя соотнести с каким-то определенным стилем, направлением, национальным контекстом, оно не локализуется в официальном искусстве или андеграунде. Оно не принадлежит какой-либо отдельной стране. Его язык - способ коммуникации со зрителем, понятный на интернациональном уровне.                                                                          
      В работах Игоря Вечерского, конечно, заметно влияние таких известных сюрреалистов как Рене Магритт и Сальвадор Дали, просматривается след мощных реалистических фантазий Здислава Бексински, воздействие сюрреалистической фотографии Джерри Уэлсмана, Джорджа Грие и Лукаса Хуртадо. Художник сосредотачивается на контрастах фигуры и фона, заставляя пространство «собираться» в гиперреалистической фигуре в тугой смысловой узел. Напряжение и отчуждение становится неотъемлемой частью событий, происходящих в пейзажах его воображения. Тревога присутствует в них даже тогда, когда они выглядят спокойными и идиллическими.                                                                                                                
      Возникающие у зрителя ассоциации с живописью сюрреализма не случайны. Печатая работы на холсте и помещая фотофигуру в среду, близкую к живописи, Вечерский создает пространство уже совсем не фотографическое, а картинное. Его произведения не являются ни прямой, ни даже постановочной, в строгом смысле этого слова, фотографией. Художника интересует известная идея постмедиальной живописи, инициированной Герхардом Рихтером, - живописи, которая делается на основе фотографии. Можно сказать что, с помощью совмещения фото- и цифровых технологий Вечерский воспроизводит технологию создания классической картины.                                                                                                                                  
      Присутствующий в фигуративных работах мотив света становится сюжетообразующим в сериях абстракций. Стремительное перемещение светового пятна, его борьба с тенью и компромиссы полутеней формируют динамический сюжет, казалось бы, предельно бессюжетных композиций. Перемещения света разнообразны, от резких колебаний с малой амплитудой до плавных волнообразных движений. Игра углов и параллелей где-то отдается во фрагментах многогранника, где-то рассыпается вспышкой, где-то образует фигуры на грани узнаваемости, которые тем не менее ускользают от четких ассоциаций. Они сопротивляются попытке сознания идентифицировать их и встроить в некий интеллигибельный сюжет, оставляя зрителя в пространстве абстракции, возвращая его к светотеневой среде и к световой линии, световому пятну как истинным обитателям этой среды.

                                                                                                                                            Кандидат искусствоведческих наук Максим Прокопьев     


The new form of art was born without pompous manifestations and noisy commercials. Some of us still consider digital and 3d art as something mechanical and artificial, something that in some way is out of human touch. Nothing could be more wrong. Computers don’t make art, people do. Computers are creative tools, much sophisticated ones. Once you try them, you will never give up going forward. George Grie
 

Collages by Igor Vechersky are based on the contrast of photography material and digital environment, which turns this material into images that inhabit the artist’s world. His works are of obvious neoromantic nature, they appeal to myths within the context of opposition and, at the same time, unity of a human being and impersonal nature that is peculiar for romanticism.
 

The subject of nudity of a human body that symbolizes loneliness of a person and, what is more, some existential cold becomes a constant value of these works. Color scheme also creates such impression: it is cold and reserved, occasionally almost deprived of color deepness.
 

Identification of the subject and content of the series by the author himself focuses on the idea of development, and the subject of loneliness comes out as self-reflection. In each case, a woman, a young girl, whose idealized image emphasizes the romantic interpretation of the chosen subject matter one more time, serves as personification of the author’s idea. Female image becomes the basis of the composition. A woman is a mystery of nature, a symbol of creative capacity and harmony. The artist is interested in the contradictory essence of a woman.


The motive develops from complete self-absorption of a person, who managed to survive a shipwreck and found himself on a desert island in the middle of the ocean (“Desert island” series) to more dramatic subjects of a fallen angel, his immersing into hell (“Angel” series) and turning into demon. The demonic constituent of the idea of development, fear of unpredictability of the evolvement, which has been known in European culture since ancient times, connects here with the process of growing-up, necessity and limitation of choice, inevitable regrets of a maturing soul, nostalgia for innocence.
 

Other planes of this image become apparent in works dedicated to mythology of female nature, to various manifestations of female essence (“Myths” series). Reference for mythological creatures allows author to represent key features of a female character, which consists in constant development and unpredictability, via archetypical images of fairy-tale characters. Images from fairy-tales are understood by everyone, and it is precisely why they are archetypical; not only such images personify some traits of character, but also refer to those depths of unrecorded time, when a person did not separate himself from the world, and felt like a part of all living things.
 

The subject of unity of a man and nature, of holistic view of the world is disclosed in the “Unity” series. This subject is disclosed in a contrast way in the “Apocalypse” series, where probable future of the humankind is predicted as a closer connection with machines. When compared to each other, these series may be considered to be an idyllic past and apocalyptic future of the humankind. With regard to the latter, a woman appears as a robot-destructor, divine beauty of a female body is opposed to inhuman, ruthless essence.
 

Interests of Igor Vechersky are demonstrative for present-day situation of globalization of cultural identification processes, when histories and cultures of different countries and continents intermingle in the artist’s consciousness. They form an alloy, which bases specifically on archetypical notions and images, without extended explanations understood by most people. Creative work of the artist cannot be referred to some specific style, school, or national context; it is by no means localized in official art or Underground. It does not belong to a separate country. Its language is a means of communication with a viewer, which is understood at the international level.
 

Influence of such well-known surrealists as René Magritte and Salvador Dali is obvious in works by Igor Vechersky, in which one can also notice a trace of powerful realistic fantasies of Zdzislaw Beksinski, impact of surrealist photography by Jerry Uelsmann, George Grie and Lucas Hurtado. The artist focuses on figure-background contrast, making space “concentrate” in hyperrealistic figure as a tight sense bearing knot. Tension and alienation become an integral part of the events that take place in the landscapes of his imagination. Agitation is present in them even when they seem calm and idyllic.
 

Associations with surrealistic pictorial art, which arise in the viewers, are not incidental. By printing his works on the canvas and by placing a photofigure in the environment that is close to pictorial art, Vechersky creates by no means photographic, but picture space. His works are neither direct, nor staged, in the strict sense of the term, photography. The artist is interested in a well-known idea of post-media pictorial art initiated by Gerhard Richter, i.e. pictorial art based on photography. We can state that by combining photo- and digital technologies, Vechersky reproduces a technology of creating a classical picture.


Motif of light, which is present in figural works, becomes subject-forming in a series of abstractions. Impetuous transition of a light spot, its struggling with shades and compromises of penumbra form a dynamic subject of compositions that seem to be absolutely without a subject. Transitions of light are various, from sharp fluctuations with small amplitude to smooth wave-like movements. Play of angles and parallels sometimes reflects in polygon fragments,

sometimes bursts out, sometimes creates figures on the brink of recognizability, which, nonetheless, escape distinct associations. They resist the effort of consciousness to identify them and embed in some intelligible subject, leaving viewers in the space of abstraction, returning it to the light-and-dark environment and to the light line and light spot as true inhabitants of this environment.

 

Candidate of Art Criticism Sciences, Maxim Prokopyevnew form of art was born without pompous manifestations and noisy commercials. Some of us still consider digital and 3d art as something mechanical and artifThe icial, something that in some way is out of human touch. Nothing could be more wrong. Computers don’t make art, people do. Computers are creative tools, much sophisticated ones. Once you try them, you will never give up going forward. George Grie

Collages by Igor Vechersky are based on the contrast of photography material and digital environment, which turns this material into images that inhabit the artist’s world. His works are of obvious neoromantic nature, they appeal to myths within the context of opposition and, at the same time, unity of a human being and impersonal nature that is peculiar for romanticism.

The subject of nudity of a human body that symbolizes loneliness of a person and, what is more, some existential cold becomes a constant value of these works. Color scheme also creates such impression: it is cold and reserved, occasionally almost deprived of color deepness.

Identification of the subject and content of the series by the author himself focuses on the idea of development, and the subject of loneliness comes out as self-reflection. In each case, a woman, a young girl, whose idealized image emphasizes the romantic interpretation of the chosen subject matter one more time, serves as personification of the author’s idea. Female image becomes the basis of the composition. A woman is a mystery of nature, a symbol of creative capacity and harmony. The artist is interested in the contradictory essence of a woman.

The motive develops from complete self-absorption of a person, who managed to survive a shipwreck and found himself on a desert island in the middle of the ocean (“Desert island” series) to more dramatic subjects of a fallen angel, his immersing into hell (“Angel” series) and turning into demon. The demonic constituent of the idea of development, fear of unpredictability of the evolvement, which has been known in European culture since ancient times, connects here with the process of growing-up, necessity and limitation of choice, inevitable regrets of a maturing soul, nostalgia for innocence.

Other planes of this image become apparent in works dedicated to mythology of female nature, to various manifestations of female essence (“Myths” series). Reference for mythological creatures allows author to represent key features of a female character, which consists in constant development and unpredictability, via archetypical images of fairy-tale characters. Images from fairy-tales are understood by everyone, and it is precisely why they are archetypical; not only such images personify some traits of character, but also refer to those depths of unrecorded time, when a person did not separate himself from the world, and felt like a part of all living things.

The subject of unity of a man and nature, of holistic view of the world is disclosed in the “Unity” series. This subject is disclosed in a contrast way in the “Apocalypse” series, where probable future of the humankind is predicted as a closer connection with machines. When compared to each other, these series may be considered to be an idyllic past and apocalyptic future of the humankind. With regard to the latter, a woman appears as a robot-destructor, divine beauty of a female body is opposed to inhuman, ruthless essence.

Interests of Igor Vechersky are demonstrative for present-day situation of globalization of cultural identification processes, when histories and cultures of different countries and continents intermingle in the artist’s consciousness. They form an alloy, which bases specifically on archetypical notions and images, without extended explanations understood by most people. Creative work of the artist cannot be referred to some specific style, school, or national context; it is by no means localized in official art or Underground. It does not belong to a separate country. Its language is a means of communication with a viewer, which is understood at the international level.

Influence of such well-known surrealists as René Magritte and Salvador Dali is obvious in works by Igor Vechersky, in which one can also notice a trace of powerful realistic fantasies of Zdzislaw Beksinski, impact of surrealist photography by Jerry Uelsmann, George Grie and Lucas Hurtado. The artist focuses on figure-background contrast, making space “concentrate” in hyperrealistic figure as a tight sense bearing knot. Tension and alienation become an integral part of the events that take place in the landscapes of his imagination. Agitation is present in them even when they seem calm and idyllic.

Associations with surrealistic pictorial art, which arise in the viewers, are not incidental. By printing his works on the canvas and by placing a photofigure in the environment that is close to pictorial art, Vechersky creates by no means photographic, but picture space. His works are neither direct, nor staged, in the strict sense of the term, photography. The artist is interested in a well-known idea of post-media pictorial art initiated by Gerhard Richter, i.e. pictorial art based on photography. We can state that by combining photo- and digital technologies, Vechersky reproduces a technology of creating a classical picture.

Motif of light, which is present in figural works, becomes subject-forming in a series of abstractions. Impetuous transition of a light spot, its struggling with shades and compromises of penumbra form a dynamic subject of compositions that seem to be absolutely without a subject. Transitions of light are various, from sharp fluctuations with small amplitude to smooth wave-like movements. Play of angles and parallels sometimes reflects in polygon fragments,

sometimes bursts out, sometimes creates figures on the brink of recognizability, which, nonetheless, escape distinct associations. They resist the effort of consciousness to identify them and embed in some intelligible subject, leaving viewers in the space of abstraction, returning it to the light-and-dark environment and to the light line and light spot as true inhabitants of this environment.

 

Candidate of Art Criticism Sciences, Maxim Prokopyev The new form of art was born without pompous manifestations and noisy commercials. Some of us still consider digital and 3d art as something mechanical and artificial, something that in some way is out of human touch. Nothing could be more wrong. Computers don’t make art, people do. Computers are creative tools, much sophisticated ones. Once you try them, you will never give up going forward. George Grie

Collages by Igor Vechersky are based on the contrast of photography material and digital environment, which turns this material into images that inhabit the artist’s world. His works are of obvious neoromantic nature, they appeal to myths within the context of opposition and, at the same time, unity of a human being and impersonal nature that is peculiar for romanticism.

The subject of nudity of a human body that symbolizes loneliness of a person and, what is more, some existential cold becomes a constant value of these works. Color scheme also creates such impression: it is cold and reserved, occasionally almost deprived of color deepness.

Identification of the subject and content of the series by the author himself focuses on the idea of development, and the subject of loneliness comes out as self-reflection. In each case, a woman, a young girl, whose idealized image emphasizes the romantic interpretation of the chosen subject matter one more time, serves as personification of the author’s idea. Female image becomes the basis of the composition. A woman is a mystery of nature, a symbol of creative capacity and harmony. The artist is interested in the contradictory essence of a woman.

The motive develops from complete self-absorption of a person, who managed to survive a shipwreck and found himself on a desert island in the middle of the ocean (“Desert island” series) to more dramatic subjects of a fallen angel, his immersing into hell (“Angel” series) and turning into demon. The demonic constituent of the idea of development, fear of unpredictability of the evolvement, which has been known in European culture since ancient times, connects here with the process of growing-up, necessity and limitation of choice, inevitable regrets of a maturing soul, nostalgia for innocence.

Other planes of this image become apparent in works dedicated to mythology of female nature, to various manifestations of female essence (“Myths” series). Reference for mythological creatures allows author to represent key features of a female character, which consists in constant development and unpredictability, via archetypical images of fairy-tale characters. Images from fairy-tales are understood by everyone, and it is precisely why they are archetypical; not only such images personify some traits of character, but also refer to those depths of unrecorded time, when a person did not separate himself from the world, and felt like a part of all living things.

The subject of unity of a man and nature, of holistic view of the world is disclosed in the “Unity” series. This subject is disclosed in a contrast way in the “Apocalypse” series, where probable future of the humankind is predicted as a closer connection with machines. When compared to each other, these series may be considered to be an idyllic past and apocalyptic future of the humankind. With regard to the latter, a woman appears as a robot-destructor, divine beauty of a female body is opposed to inhuman, ruthless essence.

Interests of Igor Vechersky are demonstrative for present-day situation of globalization of cultural identification processes, when histories and cultures of different countries and continents intermingle in the artist’s consciousness. They form an alloy, which bases specifically on archetypical notions and images, without extended explanations understood by most people. Creative work of the artist cannot be referred to some specific style, school, or national context; it is by no means localized in official art or Underground. It does not belong to a separate country. Its language is a means of communication with a viewer, which is understood at the international level.

Influence of such well-known surrealists as René Magritte and Salvador Dali is obvious in works by Igor Vechersky, in which one can also notice a trace of powerful realistic fantasies of Zdzislaw Beksinski, impact of surrealist photography by Jerry Uelsmann, George Grie and Lucas Hurtado. The artist focuses on figure-background contrast, making space “concentrate” in hyperrealistic figure as a tight sense bearing knot. Tension and alienation become an integral part of the events that take place in the landscapes of his imagination. Agitation is present in them even when they seem calm and idyllic.

Associations with surrealistic pictorial art, which arise in the viewers, are not incidental. By printing his works on the canvas and by placing a photofigure in the environment that is close to pictorial art, Vechersky creates by no means photographic, but picture space. His works are neither direct, nor staged, in the strict sense of the term, photography. The artist is interested in a well-known idea of post-media pictorial art initiated by Gerhard Richter, i.e. pictorial art based on photography. We can state that by combining photo- and digital technologies, Vechersky reproduces a technology of creating a classical picture.

Motif of light, which is present in figural works, becomes subject-forming in a series of abstractions. Impetuous transition of a light spot, its struggling with shades and compromises of penumbra form a dynamic subject of compositions that seem to be absolutely without a subject. Transitions of light are various, from sharp fluctuations with small amplitude to smooth wave-like movements. Play of angles and parallels sometimes reflects in polygon fragments,

sometimes bursts out, sometimes creates figures on the brink of recognizability, which, nonetheless, escape distinct associations. They resist the effort of consciousness to identify them and embed in some intelligible subject, leaving viewers in the space of abstraction, returning it to the light-and-dark environment and to the light line and light spot as true inhabitants of this environment.

 

Candidate of Art Criticism Sciences, Maxim Prokopyev