Ievgen Petrov
10.02 - 1.05.2015
Watercolor, sculpture
Fuck. January. 2014. Watercolor on paper. 56x76cm
December. Mud. 2014. Watercolor on paper. 56x75cm
December. Wave. 2015. Watercolor on paper. 100x150cm
February. Ice. 2014. Watercolor on paper. 57x76cm
December. Storm. 2014. Watercolor on paper. 55x76cm
March. Heroes. 2014. Watercolor on paper. 55,5x75,5cm
Icy February. 2014. Watercolor on paper. 50x70cm
November. Topless. 2013. Watercolor on paper. 57x76cm
Warm December. 2014. Watercolor on paper. 50x70cm
ECLIPSE. 2014. Watercolor on paper. 100х80cm
April. Wave. 2014. Watercolor on paper. 56x76cm
Mist. June. 2014. Watercolor on paper. 56x76cm
First of May. 2013. Watercolor on paper. 100x150cm
Rain has passed. 2013. Watercolor on paper. 57x76cm
Whose?. 2013. Watercolor on paper. 56,5x76cm
Dialogues. June. 2014. Watercolor on paper. 56x76cm
First of June. 2013. Watercolor on paper. 150x200 cm
July. Self-portrait. 2014. Watercolor on paper. 76x57cm
Pink evening. 2013. Watercolor on paper. 56x76cm
August. White panama hat. 2013. Watercolor on paper. 70x50cm
Hunting. 2014. Watercolor on paper. 67х105см
August. Surf. 2015. Watercolor on paper. 200x150cm
Wolves. 2014. Watercolor on paper. 100х150cm
Photo for memory. 2013. Watercolor on paper. 56x76cm
March. 2014. Watercolor on paper. 160x75cm
Black Sea gobies. 2014. Wood, polymer clay, metal. 20х16x18cm
Boys. 2014. Wood, polymer clay, metal. 80x14x14cm

Ievgen Petrov

10.02 - 1.05.2015
Watercolor, sculpture

Any crisis, a chronic one in particular, provokes a reaction. An artist is not an exception to this. For Petrov, this reaction is embodied in the project “Pier” which he started back in 2013. Under these extremely difficult circumstances there was no surprise in the choice of the topic. Petrov believes that as long as the language of description of Maidan and the war is not established and is only expanding its vocabulary, the artist’s reaction to these topics is secondary and cannot be more relevant that the events themselves; moreover, it resembles illustrations to a cheap magazine which does nothing to contribute to emergence of this language. Petrov prefers to abstract. And the pier is a perfect place for that.

Over a long period of time of working on the project Yevgen noticed that increasingly more people appeared on the pier. The pier, in fact as before, remained the main free attraction and the scene of beach performance; now it has replaced a confessional and mediation mat for people, and Petrov himself replaced the usual story component focusing on an inanimate object for the first time. People are considered in the same ontological plane with seagulls, waves, tires, and ice blocks. In the “Pier” Petrov builds an orbit with many different equal actors where the pier is central.

And while we are watching interactions of real object behind the curtains slightly opened by Petrov, we start to perceive this rough piece of concrete burnt on canvas with watercolors as a sensual object.

Geller Sasha