More air and color

29 April 2016, 10:23

  The depth of perspective, air fullness, spatial volumes — all this is hardly expected from the graphics as a genre of fine art. This is not a painting with its chiaroscuro, proportions and other sfumato. Of course, the division of artists into graphic artists and painters can not be strict, everyone is free to become one or the other. That, in General,often happens. Here is the penultimate exhibition of the Union of artists of Russia of Galenovich Naila Vagapova, who all know the graphics suddenly got the name "Painting".

bolshe vozduha i tsveta 1

  This exhibition was in Ufa in March, and the last one, which opened on April 16, is still available to the audience in his native Sterlitamak – in the art gallery on Kommunisticheskaya street, 84. And here are the same (in a larger volume than in Ufa) works, flowing from graphics to painting, if we take for their main characteristic the presence or absence of color and the use of colors. Experts are interested in asking the author why he moved to acrylic, the author replied that he just had a lot of acrylic. Joking, of course. The authors, as I understand it, to ask such questions makes no sense. They create, and explain created let other people.

  Somewhat apart from our theme, we can note the way that contemporary art itself is often moving towards the chart — contourennota image, local color, the abandonment of perspective.

  Speaking about Vagapov's latest works, I would like to mention their fullness with air. I've never seen him do that before. Maybe it was, I didn't see it. For the first time I drew attention to the unexpected 3D-effect, which was manifested in one of the sheets presented at the exhibition "Forward to the past" in the local history Museum in the summer of 2014. And now, passing through the halls of the art gallery, I clearly saw that the airspace in his still mostly abstract works has become more. And after talking about it with the author, I realized that he did not make any special effort. The air itself entered his work and settled there.

  Vagapov works, as a rule, in series – the thought is made into an image not at once, consists of elements, is supplemented, varies, sometimes it seems that the finished sheet requires the continuation of work on it, there is a kind of dialogue between the Creator and the creation. How does he know he's done? And nothing. It happens that the work does not end. Lying there, waiting. Like a born child who must grow up before he can come to the city and the world.

  Those who have seen not only his latest work, and had the opportunity to follow his work for a long time, as colleagues in the Association of artists of the South of Bashkiria or the most authoritative in our country art critic and expert on artistic values Irina Oskina, interested in noting the introduction of his work figurativeness, say that with age nail becomes lyrical. He agrees – Yes, what was previously transformed into symbols and signs appears in his presentative reality. Recognizable landscapes resonate with the audience. Often you can hear: "Very similar", "This is ours", "I saw it too", "I was there". And the author was there, too. In the alloy according to White, in remote rural areas, in the Buryat holiday in California falls in the autumn rain-drenched streets of Sterlitamak, in the construction of yumaguzinskaya reservoir, in the cave Shulgan-Tash... All this and much more – on its leaves.

  Design is his main profession, and he was engaged in design a lot and quite fruitfully, but he managed to avoid immersion exclusively in the sphere of applied art, to step aside, to rise above it. At the same time, he remembers his years of study at the Sverdlovsk architectural Institute as the happiest time of his life, filled to the brim with work, creativity, friendship and love.

 Until Institute, too, was a whole life. School (painted on all lessons), army, then plant. In the mechanical repair shop "Soda" worked as a graphic designer, was listed as a mechanic of the sixth category. He went to the Studio, organized for adults at the children's art school. They taught Alimet the Mirzoeva Safaraliev and Alexei Semyonovich the ridge. The students enthusiastically and tirelessly worked in the evenings after a long day of work, in the weekends they went to the sketches in Karasevka. It Alimata of Mirzoeva nail first saw the book on etching, borrowed and carried away, consider, for life. Laughing, he remembers how he found spent zinc plates in the waste of the factory metal laboratory and began to make his first experiments on printed graphics on them. In parallel, he studied at the correspondence people's University of arts named after Krupskaya. And then there was a happy occasion. The locksmith-artist was sent to the work of the Sverdlovsk architectural Institute as a factory scholar. It was a continuation of the path, and at the same time abrupt turn.

  The then Sverdlovsk, as well as the present Yekaterinburg, was a cultural city where rabfakovets, and then the student Vagapov quite fell to the court. In addition to the so prized in Soviet times working experience, he had a solid experience of exhibition activities. By the time of his student he was already a participant of 24 exhibitions – large and small. In the first year of his studies, he held his personal exhibition in the Ural city of Irbit. Vagapov became a regular participant of all-Russian exhibitions of young artists. One such a big exhibition, organized in Sverdlovsk, and then proceed to Ufa, Chelyabinsk, Orenburg, introduced him to fellow creative Teregulova by Anwar, Rais by Gaitova, Faizrakhman Ismagilov. Sverdlovsk gave Naila Vagapov familiarity with one of the largest graphs of the Soviet Union Vitaly Mikhailovich Volovich, he illustrated the "Word of Igor's regiment", Shakespeare, "a novel about Tristan and Isolde." Nail Sinanovic proud of what Volovich gave him a recommendation to join the Union of artists of the USSR. And another major eccentric personality provided him a formative influence already in Bashkortostan, honoured artist of the Russian Federation and just brilliant chart Kamil Gubaidullin Gurevich. Of course, Vagapov did not imitate him in any way. He has a completely different style. He describes Gubaidullin's influence with the words: "He saw my works". When a significant person sees your work, you also see it through his eyes – and that's enough. Already very many. This feeling is familiar to all who have something to show people.

  In Sterlitamak nail Sinanovic back in 1991, we all lived in another country. In the same year Vagapov had his first solo exhibition of etching in the Museum of local lore. And immediately began what I'm using, of course, is an obsolete term, called kulturtregerstvo in its literal meaning – to spread the culture of…

  He was doing shows not only your own, involve others. They were artists of the Urals, Bashkiria, Sterlitamak, city children's art school, where he taught. For many, it is not easy to organize an exhibition. Who lacks organizational skills, who ties whom money, and to whom modesty prevents, the girl that makes the man in gray. For Vagapov, the organization of exhibitions was a natural process. He knew how to do it without fuss and pathos, and he did it. We did not have an exhibition hall, exhibitions were placed in the Museum, in the palaces of culture. Most importantly, was well-established relationships, often manifested in friendship for life. It happened to Sylvia Kleindinst from Buffalo, a friendship that has lasted for more than a quarter of a century, with the Americans Oleg Sviridov and Marc Rodriguez. Remember, mark came to Sterlitamak with his exhibition in the ill-fated September, whose 11th will never be forgotten by the civilized world. Bruno Pollacci from Pisa himself we did not have, but there were exhibitions – his own personal and other Italians. I think it is a real miracle that children's exchange exhibitions have turned out. The works of our children were shown in America and received deservedly high praise there, and the works of American students were watched by sterlitamaks, and this, I think, worked powerfully to get rid of the complex of provincialism. Thanks to Vagapov's asceticism, the works of our countrymen were shown in different countries, which would not have happened without him. I ask if they're thanking him now. "They say, – he answers. – Some people don't." Not for thank you worked, for idea. To the word Sterlitamak familiar sounded in different languages. To fit into the context of world culture.

  I ask a traditional question of what place in our city most of all warms his soul. Ashkadarskiy the shore above the suspension bridge, meets the nail Sinanovic. And begins to nostalgic, as they say, for barefoot childhood, when friends were examined all the surrounding banks – and Ashkadar, and Erased, and White. I remember the floods and fishing, swimming and drowning rescue. And behind it – and all Sterlitamak of half a century ago, much smaller, than nowadays, fields and meadows were where now there are high-rise buildings. Has the right recall – saw and lived. The artist turned 60. We wish him good health.

Source: srgazeta.ru