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The fragments and constructions of Alexander Borodin

Alexander Borodin belongs to the generation of artists, which started their
exhibition activity in the period of changes, really revolutionary for our
State. The 80-s of the passed XX century were the time of optimistic
expectations and shattering disillusionment for Russia and the former
Soviet Union, when political and ideological foundations, which had
seemed to be unshakable, were crasching down. The first private galleries
and exhibition associations appeared, but the artists, having got external
freedom, didn't know how to coordinate it with their conscious deformed
by years of stagnation, used to well-worn, widely current styles.
Symbolism, surrealism, hyperrealism - here are the basic "isms" defining
the style of Borodin's creating in the sibirian /Tomsk/ and the posterior
moscow period (as a house of cards). Now according to the modern art
criticism it can be definited as "postmodernism". The critical term
"eclecticism" acquires a positive sense , being the foundation of the
postmodernism. Paraphrasing an old expression, used in the XIX century,
it may well be said, the author is successfully constructing the fashionable
building of "art from art". He doesn't only knows the history of arts, its
stages and individual masterpieces backwards, but also can put this
century-old cultural creations together and work it out in detail, turning
and showing it from the standpoint, actual for him and his time.
By the way, the XX century was the age of broken consciousness and
bond of times. The fine arts couldn't have passed by these global
phenomena. As far as his talent is adapted to them, Mr. Borodin has been
following these trends, creating numerous monumental "mosaics",
chamber 'patiences" and other fantastical geometrical constructions,
attracting onlooker's attention.
Experts of Mr. Borodin's works are talking about theatrical direction and
philosophical manysidedness of his compositions. I agree with them from
one hand, but it seems to me more actual to accent the attractiveness for
the painter of spacial inventing, of the so called designer's game and
simple or puzzling constructions. The action develops not only on canvas
/in the picture space/, but also between the parts /fragments/, forming the
general composition. His numerous "boxes", "excursions", "towers",
"pockets", "stairs" etc. are like spacial rebuses of signs and symbols
entertaining and hypnotising curious onlookers. The most stubborn of them
are about to believe, that hands and pointing fingers going on to another
pictures or fragments really could make the artist's conception clear.
In fact they are nothing but vectors of 'mooving inside the composition.
You know, a composition must develop in different ways -diagonal, vertical,
upwards, downwards or in a circle. Neither names of his works nor
famouos heros and fragments of world fine arts classic explain the sense
of Mr. Borodin's complexes pictures completely. The "speaking" form itself
adapted to on exhibition's interior or any chamber space contains
the sense.
I would let this artist paint the walls, ceilings and other plans of dwelling
houses and offices , where he could show his talent as a decorator-
inventor according to the customer's wishes, if I could. One can say, it's all
the business of a theatral decorator. But the Borodin's theater seemes
to be so full of personal assotiations ond visions of the author, that it is a
"theater for himself", and not for freely mooving actors. The air in his
pictures, in spite of spare places between the frogmen's and constructions,
doesn't require any human being presence. One can only observe and
change the standpoints, wondering at wealth and plenty of cultural
"accomodotions and transpositions".
William Mailand
February, 2000.