In 1984, Moscow unveiled itself to me like a reflection in a cracked-mirror amalgam, with a powdered, unshaven face
...the cries of charlatans and indifferent stray dogs.
I was stunned.
Fear. Drunken figures sleeping directly on the sidewalks. Many cripples on the streets and stern old women in the churches. Graves of Russian tsars. And a swarm of golden snowflakes around the street lamps.
...the cries of charlatans and indifferent stray dogs.
I was stunned.
Fear. Drunken figures sleeping directly on the sidewalks. Many cripples on the streets and stern old women in the churches. Graves of Russian tsars. And a swarm of golden snowflakes around the street lamps.
My works should be understood as a religious ecstasy akin to that of the old Italian masters. Bodies fall and languish, attaining a new state, a new life in the vibrant darkness of the background. Figures transform into symbols, my own alphabet, to create new words in place of those that have exhausted all meaning and strength.
The choice of blue color is made for the restlessness of perception. The paintings are meticulously crafted, allowing them to be observed up close and from a distance. They can be scrutinized under bright light or in semi-darkness.
I personally refer to my style as suggestive.
The choice of blue color is made for the restlessness of perception. The paintings are meticulously crafted, allowing them to be observed up close and from a distance. They can be scrutinized under bright light or in semi-darkness.
I personally refer to my style as suggestive.
Photo reproductions – design studio “SAMOLET”
© Max Taling
© Max Taling