Excessiveness of the Immense Scope

Tuesday, 02 September 2008 10:02

Any of us can hardly be apt to ineluctable and violent liberation from seemingly quaint and restless initiation. The latter, if being able to help feeling the failure situation and ambivalent exhaustion under some incomprehensible substantive laws, often (if not inevitably) has an adverse effect, which disappoints to a certain extent, but still dooms to sort of sweetest languor touching upon every point of the bygone incentives being able to inoculate the uppermost liberation – the internal degrees of freedom. The distinguished fear of personal proselytism – which is often considered as the extreme overworld after the predicted disappearance within the inevitable “forever” – involuntarily makes many of us strict while achieving results that are charmingly positive in the trivial essence of fantasy and emotions. A master, being perhaps a unique painter called to clone the wonderful mess of colors and desperately seeking for perfect vividness of symbol, is a real blaze! This is a sovereign spasmodic condemnation of incredible combinations of devastating and unreal senses – the Father of missionaries is gratuitously transcendental and always near the blowing spaces of madrigal existence. In fact, we are not able to resist the temptation of farewell, extraordinary disillusions in the subtle stylistics of loneliness and shrilly sunshine of would-be expectations… The worlds of other motivations of any genre reminiscences of an artist, which have become the prime mover of new possibilities to come true, are not determined – they are conditional and vigorously blurred despite the temperamental necessity for the stylized soundness of salutary needs. Yuriy Nagulko is a delicate perfectionist of elusory meanings of the catharsis of in-between contraries of the best mock effect. Of course, there is some uncertainty in comprehension of the pursued objective and depersonalization of magic integrity of the newly discovered landscape – and what of they are all present? You can find everything in the world in his art, except for a vivid speculation for the fall of emotional suggestion. For example, his encrypted “Spring” has nothing to do with this radical season – “Autumn” would seem to be more expedient for this painting with its faraway aeruginous spotty skyline over the ochre and umber thaw holes, its strangely composed ¬¬accomplished wasting away mission and a musician figure in glorious Technicolor whose face would be read by the unfrequented movements of his hands. Nevertheless, the colour of the short scattered trees beneath introduces certain atonality of irrational imaginings of unbearable and somewhat undesirable) aesthetic fortune of a painter. On the other hand, let us look at “To Your Heath” – one can easily recognize the old masters and finally understand that newly portrayed figures in any genre shall not be depicted of the self-portraits that have served as a reflex self-knowledge – we will take this as read, - but the half-transparent hand skin slightly keeps almost a Willem Kalf Roemer (glass) emphatically figural and stylized to the modern times and this impresses by its tactile illusiveness...
Is not it only the inquiring nature that makes me change the mode and enthusiasm in scandal beauty? For example, it is not trouble at all to decide that “beauty will save the world” and you can easily trust it. But no matter how self-evident the genius of Fedor Dostoyesvskiy was, it, mildly saying, does not seem to be like that; take, for instance, the identified beauty of virtual Pleroma that is subsiding with geometric series, if we understand the saying all right... In this article, which is exclusively dedicated to the artwork of the most unique painter, I cannot hide my interest to his desire to deprive, first of all, himself of the sheer presages of the minor habits to subordinate his creative essence to the samples of inviolability in the category of the common that tends to eternity. Yuriy Nagulko is invulnerable in some of his paradoxical works as none else. After all, none of the artists known to me is typical to that extent. He paints sumptuously and in liberated manner as though eliminating customary distinctions between canons and introducing his recognized and inherent style of painting being well unique in terms of colour. His bright landscapes are just wonderful! I often think of his “Midday Dream” for some reason – but not of the sky with its seraphic figures of the conditional Eros, not at all. I am reflecting upon those striking motionless shadows of some deep shades of the earthy hell, their mortal unearthly history, their intensive transformation fancy in the anomalous triumph of the inevitable...; and I think of “The Wall” with its striking genre maturity – the archeological fields of the archetypes and cultural layers from Arcade and Sumer to the magic of Byzantine wonders; metaphysical peculiarity being subject to the old harmony; contraposition of the initial and last rudiments of the excessive colours, its marginal and decorative self-identity is able to convince us of the peculiarity and infinity of the perception in general. I see my task as follows – I am eager to share that impressive sense of the inner immensity of this imaginative master, especially of his laconic visualization of the Holy Scripture – a theme, which seems to be comprehensible to him for some mysterious reason... As it is known from the articles of my colleagues, Yuriy visited many museums and saw many famous paintings. He really shows preferences for the old masterpieces of the great cultures. He is obviously a painter of the exceptional, unique and almost mythic solitary being... I do not think that the professional contacts with other painters played an essential role in the development and formation of the figurative distinctive features and preferences of Yuriy Nagulko. After all, it is difficult to find obvious ties with the modern trends, topic and subject aspects. I can hardly associate my superficial analysis with any known groups, no matter which features they have in common – at least, his manner and style in the landscapes, especially of the latest period, have little to do with other modern paintings... Most likely, not only the external impulses are at the bottom of such striking evolvement; the obscure camera of his genre paintings is fully devoid of the earlier known means of expression – but also then there is no catering for the dynamically changing market. The psychological points, which are often understood as drama scenes, take us out of the three-dimensional space approach in the adventurous unalterable variable, in understanding of the expressive authenticity and tonality, in its irreproachably verified scope. No matter how biased we are against the landscape in general, but even accounting for the up-to-date technical effects and colours - profound, delicate, pastoral, comprehensive, skillfully depicted paintings are undoubted breakthrough in this sense; their emotional value gives the impression of other purely ideal identity of the inward peace. They seem to remind our gene adoptive imitation about the infinite thirst, about the possibility not to lose anything in the fatal fantasies that look like authentically dictated twilight state of the ultra-mundane (weird?) intuitions. In general, this is a pleasant, delicately rich creativity – the excessive harmony will always be the only importance for that creation.

Borys Rudenko
October 2004

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