“The pure present is an ungraspable advance of the past devouring the future. In truth, all sensation is already memory.” ― Henri Bergson, Matter and Memory

The artwork Stripped sets an enquiry into ‘archeology’ of memory as one of the main forces in shaping our identities and our present. The process of removal of already existing imagery, by stripping off canvasses and constructing the new impressions, employs atypical form of aesthetic in a conventional practice of painting. This approach has been influenced by Heidegger’s concept of ‘the revealing the essence of the thing’ and carrying the process as ‘unconcealment’.

The process of making Stripped extend over several decades. First the art works appeared as figurative paintings in Kenya and thirty years later it was broth to ‘completion’ in Birmingham, on MA course. It was unavoidable to have such a long gap between the starting point and the completion of work. The whole process of making Stripped closely relates to the events and travels in my life, to Kenya where I moved from Russia in 1980 and later – to the United Kingdom.

Based on the research of memory Stripped relates to incident and occasion that seem to leave no visible traces, resting under the layers of more recent happenings. However, those moments remain surprisingly intact and visually strong when brought back to life by dismantling of layers.

The interdisciplinary of work implies a number of different practices: painting, writing, installation, printing, drawing and collage. The idea of disrupting the traditional approach by developing the artwork in the ‘reverse’ direction places Stripped within a ‘post-postmodernist’ context with a reflection on shifting views on painting practice, its processes and its meaning.