Confined in one space, we attempted an act of transgression through the “imaginarium”.
A helping hand for this metaphysical escapism was extended to us by the “transavangardist” Golosij, from his “Yellow Room” – and the light of his otherworldly seeped into our sunny-surrealism. In the disturbing dynamics of the painting and its constant exploration of the Great Nothing, we found the inspiration to create a new world – where the dynamics are countered by the statics of deliberately ironic poses, and anxiety by a revealing nonchalance. As usual, the new world has its own Adam and Eve, impersonal and fake, as symbols born in the age of social media, with a set of emotions successfully broadcast in emoji style. They inhabit the “prison” (of the mind/soul/body?) in the naive manner of the early humans, unaware that beyond this postmodern parody of “biblical history”, the Great Nothing – the end of any myth – awaits them. Such is the price of knowledge (and Golosii knew it, looking into the abyss of emptiness as into the face of a personal enemy). In the meantime, we allow these two to play the conventional “man and woman,” sometimes close, sometimes distant to each other, sometimes almost merged into one. And in this fun game we can see the formidable shadow of the all-consuming absurdity.