Ассадур — различия между версиями
Sayadov (обсуждение | вклад) м («Assadour i» переименована в «Ассадур») |
Ssayadov (обсуждение | вклад) |
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| + | =Биография= | ||
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| + | ==Сочинения== | ||
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Assadour | Assadour | ||
| − | + | Unraveling the knots of Assadour's esoteric universe is like counting grains of sand. Its very essence is a never ending enigma and a frustrating one in that his images are scattered with innumerable clues, some identifiable others seemingly private codes. They appear feetingly, silently, disturbingly, inviting comprehension but immediately retreating before definition... | |
The artist pushes our powers of analysis to the limit, leaving us feebly intoning "poetic" "mysterious" "timeless" or similar words to the same equivocal effect. He is the master of contradictions, of innuendos of ambiguities, of paradox, managing to create images which amalgamate opposites, are neither one thing nor the other, but ultimately catalyze both peoples into a distinct sensation, that uneasy sensation of the unknown. | The artist pushes our powers of analysis to the limit, leaving us feebly intoning "poetic" "mysterious" "timeless" or similar words to the same equivocal effect. He is the master of contradictions, of innuendos of ambiguities, of paradox, managing to create images which amalgamate opposites, are neither one thing nor the other, but ultimately catalyze both peoples into a distinct sensation, that uneasy sensation of the unknown. | ||
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Order/chaos; construction/destruction; lightness/darkness; past/future; optimism/pessimism; desert/city; North/South; East/West; Assadour's game of opposites is eternal and infinite, and he knowingly draws us through it by the fine point of his graphic instrument, occasionally letting us stumble in the shadow of a symbol, than again leading us towards an ever-receding horizon. | Order/chaos; construction/destruction; lightness/darkness; past/future; optimism/pessimism; desert/city; North/South; East/West; Assadour's game of opposites is eternal and infinite, and he knowingly draws us through it by the fine point of his graphic instrument, occasionally letting us stumble in the shadow of a symbol, than again leading us towards an ever-receding horizon. | ||
| − | + | And then the human figure enters the stage: unreal, puppetlike, naive, observing his surroundings, balancing his hoop although he is perhaps past the age of play, still nostalgic for his youth. At other moments he is barely visible, a fleeing figure disappearing through a doorway, illusory, the fame of hide and seek continues. Identity unknown. Of no fixed abode. A creature of the fourth dimension? a clockwork toy or a protype for a new civilization? He remains solitary, aloof, separate from his environment, overpowered bu the suffocating silence which reigns while the red dust settles and the sands shift and the sirocco blows... | |
A pyramid, a half-moon, a polygon, a cluster of number, a stylized (doll's) house, a diagonal line with a fixed point, a glimpse of a brick wall, a (tantric?) circle: the guessing game begins again, we have come full circle, Assadour has added another cypher. | A pyramid, a half-moon, a polygon, a cluster of number, a stylized (doll's) house, a diagonal line with a fixed point, a glimpse of a brick wall, a (tantric?) circle: the guessing game begins again, we have come full circle, Assadour has added another cypher. | ||
- Fiona Dunlop | - Fiona Dunlop | ||
Версия 15:49, 16 февраля 2008
| Ассадур |
Биография
Сочинения
Достижения
Изображения
Библиография
Assadour
Ассадур
Художники и их картины
http://www.roslin.com/artinfo/artframes/assadour.htm
Assadour
Unraveling the knots of Assadour's esoteric universe is like counting grains of sand. Its very essence is a never ending enigma and a frustrating one in that his images are scattered with innumerable clues, some identifiable others seemingly private codes. They appear feetingly, silently, disturbingly, inviting comprehension but immediately retreating before definition...
The artist pushes our powers of analysis to the limit, leaving us feebly intoning "poetic" "mysterious" "timeless" or similar words to the same equivocal effect. He is the master of contradictions, of innuendos of ambiguities, of paradox, managing to create images which amalgamate opposites, are neither one thing nor the other, but ultimately catalyze both peoples into a distinct sensation, that uneasy sensation of the unknown.
Order/chaos; construction/destruction; lightness/darkness; past/future; optimism/pessimism; desert/city; North/South; East/West; Assadour's game of opposites is eternal and infinite, and he knowingly draws us through it by the fine point of his graphic instrument, occasionally letting us stumble in the shadow of a symbol, than again leading us towards an ever-receding horizon.
And then the human figure enters the stage: unreal, puppetlike, naive, observing his surroundings, balancing his hoop although he is perhaps past the age of play, still nostalgic for his youth. At other moments he is barely visible, a fleeing figure disappearing through a doorway, illusory, the fame of hide and seek continues. Identity unknown. Of no fixed abode. A creature of the fourth dimension? a clockwork toy or a protype for a new civilization? He remains solitary, aloof, separate from his environment, overpowered bu the suffocating silence which reigns while the red dust settles and the sands shift and the sirocco blows...
A pyramid, a half-moon, a polygon, a cluster of number, a stylized (doll's) house, a diagonal line with a fixed point, a glimpse of a brick wall, a (tantric?) circle: the guessing game begins again, we have come full circle, Assadour has added another cypher.
- Fiona Dunlop
