Painting #2 for consideration
 

Painting #2 for consideration

He is at the prime of his creativity and is in search of a means of expression to achieve harmony between the material visible world and inner immaterial invisible world. "The Tangible" comes first whenever there arise discussions concerning painting and modern forms of expression. Our contemporary spectator is too tired of the deceptive illusions of the substances of virtual spaces, so he craves for what is "true to nature" and palpable -- what you can touch with your hand. But mere physicality has never been the ultimate goal of art, the painter tries to penetrate the profound spiritual world even in the limited space of still life. Hence emerges the eternal subject-matter problem of art that never ceases to stir an interest in society. The creator explores the interactions of color, light, air, substance and a general conception of life to eliminate the distinctions between the image itself and what the professionals regard as the problem of solving "flatness" of canvases by working out his own  idiom.
The painter strives not only for recognizability of the things but also for equivalency of the image and the original by preserving the complexity of all the plastic structure values, the first view plain to the spectator, textures that are inevitably diversified and multi-componental, rendering B. Vedernikov's manner of multilayer painting.

The paint becomes the color emerging out of various interactions of the solids and space and source of lighting. The tints of transparent glass, white or painted porcelain blinking of metal, pile of draperies, apple gloss, peach velvety -- all these qualities are easily detected at first sight and at second sight, revealing a perfect execution of the entire design which immaterial pictorial sensitivity makes the embodiment of high aspiration of our age.

The mentioned coloristic effects are achieved owing to the Moscow Painting School. The Moscow school is noted for its fine nuances and a subtle perception orf color and light in the painting that gives a unique character to the entire design.

The Moscow school traditional symbolic vision of light as a spiritual category traces as far back as Ancient Russia when the artists didn't follow the realistic methods of painting and depicted every material object as a projection of some immaterial essence. Out of this Ancient Russia conception of art grew a new approach to the handling of still life painting ("Still Leben" in German means "still life") as a concentrated contemplation supplemented by the skillfully executed design of the painter. B. Bedernikov like a talented creator of the performance starts with assembling a number of things (subjects) that are united either thematically (the things utilized frequently come from B. Vedernikov's native Vyarka territory) or through their decorative features with the following location of the things (subjects) in space and the projection of  their images on the canvas.

A great painter finds a balance with seemingly effortless perfection between the complex but harmonious image of the things (subjects) and  their seeming randomness. Thus draperies appear to be dropped carelessly but their most impressively looking folds bring to mind a classical vision  of the image of draperies or they appear to be most trivially covering the surface of the looker conveying the coloristical challenge in "Still  Life on the Blue" or in the most coloristically balanced "Still Life with an  Old Lamp" which signifies the importance of simple home decor.

In these works he turns to his favorite theme of lace to incarnate the idea of his most fantastical "transparent substance". The elaboration of this kind of plasticity reveals in the translucent corona of the tree requires an acute understanding and a superb artistic mastership in parallel creation of environment (space) and, placed within it, form. In this sense B. Vedernikov's art follows the best traditions of national painting school always tending to universality, harmony between the form and the feeling the image and the idea, the plastic and the decorative, the material and the spiritual.

-- Victor Kalasnikov
 

Biography

1967    born in Moscow
1985    finished Moscow Art School
1992    graduated from Sirikov State Moscow Painting Institute (studio 
easel
painting of Prof. V. N. Zabelin)
1993    grant-aided student of the Union of Artists of Russia
1994    joined Moscow Union of Artists
1997    postgraduate of Russian Academy of Arts (easel painting studio of 
A.
P. and S. P. Tkachevs)

Exhibitions

1987-99         Autumn and Spring Painters Exhibitions
1992            All-Russian Exhibition "Russia"
1994-95 Permanenet Exposition in the gallery "Whistler", Vancouver, 
Canada
1996            One Man Exhibition in Borovsk
1996            Exhibition of a number of painters of Moscow Branch of World Bank
1997            One Man Exhibition in the gallery "Nagomaya", Moscow
1997            Exhibition "Moscow and Russian Province" Central House of 
Painters,
CHP, Moscow
1997            One Man Exhibition in Moscow club of cunsumers
1998            Exhibition "Unfading Crown of Slavonik Towns", Maly Manej, 
Moscow-Minsk
1998            One Man Exhibition, CHP, Moscow
1999            All-Russian Exhibition, CHP, Moscow
1999            All-Russian Exhibition "Homeland", Manej, Moscow
1999            One Man Exhibition, CHP, Moscow
Present         lives and works in Moscow. His painting are found in private
collection of Russia and other countries of the world Exhibitions.

v. June 11

LF  Boris  Vedernikov 
1. WHERE WERE YOU BORN
                   Moscow

2. WHERE DO YOU LIVE PRESENTLY
                   Moscow

3. PLEASE DESCRIBE YOUR ART WORK
                   Genre Style-- Still-Life, Landscape,
Portraits. 

4. WHAT IS YOUR FAVORITE TECHNIQUE?
                   Oil, lessirovki, many coats of
color on the canvas.  I have learned the technique of old masters. 

5. WHICH ARTISTIC MEDIUM IS YOUR
FAVORITE TO EXPRESS YOURSELF?
                    Realism

6.WHAT EVENT INSPIRED YOU TO BECOME
A PROFESSIONAL ARTIST AND AT WHAT AGE WERE
YOU WHEN THAT EVENT OCCURRED?
                    When I was 4 years old. My family
was not a family of artists,
but my parents have many Friends from the artists strata of
society. When I was little, I met many artists in our
house, I grew up with their paintings, and in their studios. 

7.WHAT HAS BEEN THE MOST LUCKY THING
THAT HAS HAPPENED IN YOUR ART CAREER?
                     The ceremonies of opening my
exhibition in London.
There were 3 Russian artists. 
My paintings drew interest from Italy, especially
the Florence, the Uffizi Gallery, the 13
censure Italian school.
he displayed here gave the
observant spectator a splendid
Chance to perceive how and when
Italian painting started to break
away from the stiffer,
more schematic Byzantine
tradition.
Renaissance style are Cimabue and
perhaps the most revolutionary of all,
Giotto.

8. WHO HAS BEEN THE MOST INFLUENTAL
PERSON IN SHAPING YOUR ART WORK?
                      Johannes Vermeer van
Delf. Rembrandt: His Self-portrait in the National gallery in London. It was as though it was the first Painting in my life,  I've gotten a
shock from it,  I wish only looking, but not trying to understand the mysteries of genius techniques.

9. WHAT IS YOUR FAVORITE SUBJECT FOR
YOUR ART?
                      My artistic credo is dedicate the bright
future.  Limpid paint and inside luminescence. 
 I can get this effect when I use the  Lessirovkis
technique.