The Art of Larissa Pastushkova – is notable phenomenon, not only in the artistic life of Siberia. Her active exhibition activity, participation in many major art projects, on the one hand spiritually enriched her, on the other hand, presented her to international artistic community. Paintings and drawings from her studio widely presented in private collections, large and small galleries of Russia , France, the United States and Canada. Everywhere at the exhibitions, even such large-scale as international biennials of graphics, taking place in Novosibirsk , her works are recognized and like magnets attract to themselves, to remember its essence , a strong style, high meaningful and mystery. Actually - this is mind in colors and lines. Thus, it is necessary to interpret her works as question about the philosophical origins of the modern Siberian artist.
We will try as much as possible in this brief, to touch at least one motive of oeuvre of L. Pastushkova. It's about space of her works, and space of metalevel - some kind of eidetic reality, that is increasingly reflected in the modern philosophy of art. Its origins can be found in the writings of Plato and his followers, Indian ("Akhasha") and the Chinese sages (always loosing De as a manifestation of the incomprehensible of the great Tao).
In our opinion – to enter into the analysis of her work, these philosophical concepts is entirely justified. She is familiar with them, speaks to them in the process of complicated artistic and spiritual reflection, they contributed to the creation of some series of works of the artist. She was in India, has been in Mongolia , of course, was in the West, and a special openness and ability to read people's worldview not only from philosophical texts , but from texts of art ( temples, paintings , etc.) allows to her to see a special sacred space of humanity, which is the true Being, and the world of phenomens - only its derivative shadow.
As soon as the space, favorite philosophers category, will be supporting in an attempt to reveal the essence of the artist's work, then the philosophical view of her art acquitted. Especially as we face with another problem - the interpretation of this kind of art by professional art critics.
It is useless to apply existing system of classical art analysis to creativity of L. Pastushkova. Her paintings initiates to continue create of created by her image that is offer an active co-creation. In other words, we think of those images that are born in our minds, in response to an artistic challenge of L. Pastushkova. And here, as a rule, modern art critics prefer to use one of the original concepts and in terms of this concept to describe art product.
For example, it is known that a large influence on the development of creative of L. Pastushkova had a great Altay sculptor, painter Vasily Rublev . In his studio, L.Pastushkova together with other now actively working brightly artists, not only painted models and discussed the creations, but also follows the philosophical discussions. Rublev was familiar with the Taoist views, and one of his favorite book was "Conversations about painting " Shi Tao - monk-artist of the late 17th and early 18th centuries . Based on this, it is naturally to found in the creations of L. Pastushkova these motives; say that Dae - follows the Tao - the essence of creativity L. Pastushkova , capricious , whimsical , changeable from job to job . Cycle of India immediately conjures up the idea of the Shastras and other work can be considered in terms of the neo-archaic .
This is all the more justified since we are not reliably known what prompted Pastushkova to create this or that composition (design). Perhaps, she will also not always assign her creations with the philosophical source of inspiration. What is clear is that she, as an artist, represent one of the modern and very effective art directions, which is combine of the science, philosophy, the arts ( general line of development of the country's knowledge - by V.S. Soloviev) - is not an empty phrase, not a declarative goal, but the essence of creativity. L. Pastushkova - reads a lot and is immersed in the books of eminent thinkers and she’s knowledge, she matched with the search for new art forms.
Wonderful architect, educator, art architecture reformer Jacob Chernihov, in the most difficult year in 1930, in the book "Fundamentals of the mark" - was introduced artistic maximum: wherever it possible, the word have to be replaced by graphic art. This could be the slogan of creativity L. Pastushkova . Signs and graphic symbols, lines and spots - are the "unspoken words", which is usual for the artist. For the viewer and the art critic is sometimes very interesting to hold back the operation – to verbalize fanciful arabesques game of lines...
Return to the two spaces - earth (event) and the sacred in contemporary art directions. In an effort to show reality that we feel, artist of classic realism direction feel excessive affection, even slavish dependence from the surrounding reality. During the copy of this reality, the artist creates a second reality, but this is not creation of art. Remember even by P.Potter, who wrote a handsome bull in full growth in all details. Unfortunately, in the confusion of contemporary artistic taste, for the glory of this 17th century artist a significant part of modern artists follows. Naturalism, in its limited illusion is active at art exhibitions.
Another motive creativity brightly expressed, for example, in the picturesque and theoretical works of Kandinsky – there is a dream of freedom of art from the feelings-empirical. This freedom he was seen in a very simple geometric figures, where all feelings was shown only by color. Here is the excited yellow triangle, and here is the self-absorbed blue circle. And such creations we also can see a lot at modern exhibitions, so much so that sometimes you can feel yourself that you're in a class where just ended geometry lesson, and not everything erased from the desk .
Larissa Pastushkova confidently heads between these two extremes. From naturalism she saves with her true spirit of creativity, that winning the banal and trivial. She does not copy itself and repeats, self-citations , précising many times successfully found an artistic composition . From searing rationalism, scholasticism of abstraction saves the feminine nature, that lovely and sensually open to the world. Sobriety together with irony, without affection to details in her creations. One of her main idea, that the pictures are travelers – they have to go and make room for new ones in her studio. If we were blessed with the gift of metaphysical view – probably we could see the river of artistic images, which flows freely through her studio.
Her latest exhibition is called "In the space of myth." In the myth, and in the creations of L. Pastushkova, as long as she appeals to this invaluable experience of humanity - there is chaos and cosmos exist. Cosmos in her works is different from the original substance with the presence of structure. The quality of space - always be a life-giving, always create and promote life. You can see this magma of life in the works of L. Pastushkova, the sound of the first sound-words, the connection of the first chaotic quantum in the pro-forma of future existence. But the space - not only gives life, space is eternal, and in a condition of eternal – time is not something that would be converted into abstraction, but finds its universal character. Eternal is unattainable in its ontological greatness even in people minds , but meantime eternal is accessible in some of its enchantingly beautiful face, when it becomes possible to operate with it, for example through the human mind , or through the artistic process. And then the prophetic paintings about the future are born, or vision of the world in the past be reliably reconstructed. What is important from the point of view of cultural objectives - to understand, for example, how a people thoughts, when they lived together with gods, and when the world joyfully opened in a wonderfully - well - organized unity. In other words, if we want to understand how were born some signs and symbols, that decorate the rocks along the Katun River, Chuya, and other places , it is also possible use the experience of contemporary artist . The space becomes fundamentally different in comparison with the usual created with machine-technical rhythms - it becomes a living, people in alliance with the world, they are bound and responsible for it.
Let’s take the word to artist. «I’m trying to understand my mythic space and the space of myth , as a philosophical category. Myths , legends , stories - is the spiritual wealth of all cultures, and without this space people can’t develop. There were always a lot of "divers" deep into the past, because the ancient repository of values inexhaustible. All art is fulfilled with signs and symbols. During centuries, the signs were changed, transformed, but remain iconic. I'm trying to build, or read graphemes in my own way. Make a personal collection of meta-signs. I like this space - "Meta", which means in Greek - between. Between "I ran and back", between "myth and reality", between the "birth and death ". Between these categories I am trying to understand myself in this stream." The point here is about the first act of creation, the first presence of being, a state where everything is in front and will be come true, and all fulfill of joyful feelings of discoveries and revelations.
Another one turning a virtual key in a "reading " of paintings ofL.Pastushkova – is topic of infinity. Soon or later this thought visits almost everybody stronger or weaker, than this thought covers his soul and mind. It can be anywhere and anytime. Ways to infinity are multiple. The man in the natural environment, for example, in the contemplation of the sky-sea unity, loses the sense of density and hardness under his feet, and he receives a sense of take-off and soaring. Or, when you look up to the sky, but not flat, dusty, illuminated neon city sky, but sky with the stardust in the steppe or in the mountains. There the sky is volume, and take out from the body – the weight. As more as your look sinking into it, the more obvious the state of the flight, the power of earth gravity is replaced by the power of astral gravity. Actually, the paints of L. Pastushkova can be seen as a spark of infinity. And even, perhaps , a meeting with them first , and only then with the infinite in nature , will be like a school, primary, mental , propaedeutic experience. On the other hand, someone who has actually experienced such a condition, and adopted as his own, in her works will see and recognize something familiar. Graphic series and paintings will be like light tuning forks that adjusted in gray and crowded city life, will be reminded about the eternal life-giving the Infinite Cosmos and constantly projected in the profane world the eternal values : truth , beauty and goodness .
Ph.D., professor , member of the Artists Union, the Russian Federation.